January 24, 2011 At Work Andrew O’Hagan on Maf the Dog By Kate Waldman The Life and Opinions of Maf the Dog, and of His Friend Marilyn Monroe is Andrew O’Hagan’s fourth novel. It details the star’s final years in New York and L.A. as seen through the eyes of her frighteningly learned Maltese terrier, who was born on a Scottish tenant farm. Reporting from the intellectual, artistic, and political epicenters of America in the ’60s, Maf is uniquely positioned to chaperone us not only through Monroe’s private decline but also through the romance and turmoil of her era. On the phone, O’Hagan is soft-spoken and gallant, his Glasgow lilt similar (one imagines) to Maf’s. You were born in Scotland and spent much of your life in London. What drew you to Marilyn Monroe and this particular scene in America? I grew up on the West Coast of Scotland. We looked across the sea to Ireland, where my ancestors had come from, and beyond that, to the bigger-seeming civilization that was America. We always felt that we somehow had a strong relationship with the United States. We were very ready to accept American culture. There was, for instance, a great love of movies in my family. And the women all sang songs, not folk songs or Scottish ballads, but the songs of Frank Sinatra and Sarah Vaughan. You might not immediately think of Glasgow as a world propagation center for glamour, but it is, and it was, and I feel the benefit. Photograph by Eric Skipsey.I realized a few years ago that I wanted to write about some of the less obvious ghosts of my childhood. I knew Marilyn Monroe had been given a dog by Frank Sinatra, and I started to look for evidence of this dog, feeling that, if I found him, he would prove a very reliable and possibly diverting witness to a culture that had influenced our lives. When I went to New York in 1999, I attended a sale of Marilyn Monroe’s personal belongings at Christie’s. I was writing a piece at the time for The London Review of Books and intended a second piece for Barbara Epstein at The New York Review of Books, so I went to the auction and waited and waited and then my waiting was rewarded when six little Polaroids of Maf the dog were auctioned for $222,000. As I was watching all the people frantically waving their paddles and trying to get a hold of this seemingly crucial piece of art from the twentieth century—that’s how they behaved—I felt I could hear the dog’s voice. I went back to my hotel that night thinking, If I can capture this dog, I’ll have accessed something special, something that really matters to me—and, hopefully, to my readers. Read More
January 21, 2011 In Memoriam Reynolds Price By Natalie Jacoby Photograph by D. L. Anderson Yesterday, we learned that Reynolds Price had passed away following complications from a heart attack on Sunday. Price set all of his books in his home state of North Carolina, where he also taught at Duke University for more than fifty years. In his 1991 interview with The Paris Review, Price discussed his process as a writer: First, my eyes are my primary teachers. And I assume that this is true for a vast percentage of the human race, certainly for the entire sighted portion. For us, the world enters there—it mainly enters my mind through my eyes, and I make of it what I will and can. The granary, the silo—my garnered experience—begins as stored visual observation … I love to watch the world, and that visual experience becomes, in a way I couldn’t begin to chart or describe, the knowledge I possess; that knowledge produces whatever it is that I write. From the very beginning of my serious adult work, when I was a senior in college, my writing has emerged by a process over which I have almost no more conscious control than over the growth of my fingernails. A prolific author, Price’s career was nearly cut short because of a battle with spinal cancer from 1984 to 1986. The radiation treatments left him paralyzed from the waist down, and he was unable to focus on reading or writing. As he explained in the interview, he was “deeply stunned and then intent in every cell on healing and lasting.” But he quickly regained focus and, in 1986, finished Kate Vaiden, one of his most beloved novels (and for which he was awarded the National Book Critics Circle Award). Even in the most trying times, Price believed in his work: “Writing is a fearsome but grand vocation—potentially healing but likewise deadly. I wouldn’t trade my life for the world.”
January 21, 2011 This Week’s Reading Staff Picks: David Vann, Chip Kidd, James Salter By The Paris Review Last spring our former managing editor and I spent weeks poring over David Vann’s first novel, Caribou Island, when it was in manuscript, trying to find an excerpt we could publish in The Paris Review. Caribou Island is tough, funny, sad, scary, and hard to put down. It has haunted me ever since. The bad news (for us) was that the whole novel is so much of a piece, we couldn’t tease out one strand. The good news is that now the book is out: You can read the whole thing yourself. —Lorin Stein I love paging through Chip Kidd: Book One, a designer’s history as told through book jackets. Visually stunning, it offers the stories behind the making of some very iconic covers. One of my favorites is a rejected cover for The Illustrated Woody Allen Reader, featuring a large, black square. “I thought it was kind of cute—in an angsty, despairing, Nietzschean sort of way,” Kidd says. —Kate Guadagnino Encountering James Salter’s A Sport and a Pastime for the first time is like finally springing for that Cabernet your friends have been praising for years and knowing from the first sip the bottle will disappear much too quickly. The novel unfolds in a series of seductions familiar in their outline—lovers, friends, even France itself—but in such exquisite prose that reading each page is to suffer the pleasure of an affair that must end in the morning. Witness the treatment even of a momentary character: “She has been a famous actress, I recognize her. The debris of a great star. Narrow lips. The face of a dedicated drinker. She constantly piles up her hair with her hands and then lets it fall. She laughs, but there is no sound. It’s all in silence—she is made out of yesterdays.” Wow. —Peter Conroy Read More
January 21, 2011 Ask The Paris Review Writers and Their Libraries; Fashion v. English By Lorin Stein I love reading authors talking about their own reading experiences—it seems like such a beautiful way to understand how and why they write. I recently read Walter Benjamin’s essay “Unpacking My Library: A Talk About Book Collecting,” and I was wondering if you could think of any similar essays about the private libraries of great writers. There’s a long tradition of writers writing about their libraries. Some of the first modern essays—by Michel de Montaigne and Sir Francis Bacon—are on that very subject. Among more recent publications, you might enjoy Anne Fadiman’s collection Ex Libris or Larry McMurtry’s Walter Benjamin at the Dairy Queen. The trouble with people writing about their libraries is, well, every writer has one. It’s like writing about your left hand. Or your M.F.A. program. But McMurtry is a special case. If he had never written Lonesome Dove or The Last Picture Show, he would be famous—at least among collectors—as one of the country’s most respected dealers in used and rare books. When he writes about his library, he always has something interesting to say. Read More
January 20, 2011 The Culture Diaries A Week in Culture: Wesley Yang, Writer, Part 2 By Wesley Yang This is the second installment of Yang’s culture diary. Click here to read part 1. DAY FOUR Bach Organ Works. One of my many collegiate affectations was to play old records on a plastic turntable that I purchased at a garage sale. I had a bunch of classical LPs from my parent’s living-room bureau that I brought with me, including the Sinfonia Concertante in E-flat Major and Beethoven’s Concerto for Piano and Orchestra in E-flat Major. The poor fidelity of those enormous sounds pressed through that tinny speaker gave the music an abstract and deconstructed quality that made it somehow purer. My best friend at the time was Hoon, who was only four feet, eleven inches tall and very slight. We both shaved our heads totally bald in the summer between freshman and sophomore year in emulation of Michel Foucault. “I have a good head,” Hoon assured me in advance of shaving it. He was right—it was a very elegant ovoid shaped like a coconut that you could hold in the palm of your hand. I doubted I would have a good head, and after spending an evening trying to depilate it with a disposable Bic razor (I had to go to the barber the next day to finish the job, as there were impacted clumps that would not come off), I discovered that, in fact, I have a grossly oblong, egg-shaped head. During my sophomore year at Rutgers, I fell into a desperate and unrequited passion for a Colombian girl who lived a floor above me in the river dorms (where I had moved after feeling alienated in Brett Hall, the honors dorm where 95 percent of the students were Orthodox Jews from South Jersey), and then had something like a minor breakdown. I would spend hours staring at the record player as it spun out this strange celestial music that induced a cold rapture that was intense in its longing but inhumanly remote. It seemed the aural manifestation of an austere and exacting God. I never quite enjoyed it, but everything else felt irrelevant. I never really got over that record of Bach. I carried the little plastic record player with me throughout the rest of college, until finally my roommate during senior year snapped the record in half in a passive-aggressive fit. He had reason to be upset with me: I had made out with his sixteen-year-old sister who had visited us for a week after refusing to return to school that January. We stayed together, on and off, for the next seven years. Very recently, I downloaded a complete set of Bach organ works by another performer and assembled a playlist of the tracks that made up the original record. The tonalities do not compare in beauty and strangeness to the ones recorded on the LP, and now I think I hear what the roommate must have heard. At the time, he confessed to me that he believed I played that record specifically for the purpose of tormenting him, and that was the reason he broke it. Read More
January 19, 2011 At Work Maureen McLane on “That Man,” “Genoa,” and “Aviary” By Robyn Creswell The winter issue of The Paris Review includes three poems by Maureen McLane. McLane has published two books of poetry, Same Life (2008) and World Enough (2010), along with several studies of British Romanticism. She teaches at New York University and lives in Manhattan. You wrote about poetry as a critic and scholar for several years before you published your first collection. Were you writing poems all the while? Yes! in a boom-and-bust way—which is the way I was living as well. I’d been writing poems since college, in several modes, feeling my way into and out of different, mainly lyric idioms. I was interested, too, in something like a poetics of not-communicating, or of not-prematurely-communicating. By the mid-’90s, I had completed a manuscript, most of which precedes and is distinct from Same Life, my first published book; a friend thinks I should publish that first manuscript as “Almost Lost.” What changed between the unpublished work and the poems of Same Life? Same Life encompasses twelve years of poems, some of which overlap, in time and preoccupation and style, with the first manuscript. So there is some continuity: an interest in lyric sequences, for example. I think one shift was an increasing openness to, even an insistence on, a range and simultaneity of commitments—to erotic lyric but also invective, to compression but also expansion in some essayistic poems like “Excursion Susan Sontag.” I think, too, that by the time I put Same Life together, I had gotten some mythic-mindedness out of my system. And in the mid-2000s, a couple of artist’s residencies allowed me to focus even more intently on my work; that was an enormous boon, for which I am hugely grateful. Another not-unrelated fact: My life situation changed a lot in the ’90s, including the end of my marriage, and certain energies were probably released into what became Same Life. Read More