June 1, 2011 Arts & Culture The Place of the Flavored Vodkas By Molly Fischer “The Russian Samovar: The Place of the Flavored Vodkas,” read the TV screens above the bar: an apt summary, and a reprimand to anyone ordering beer. Horseradish is the vodka of men; ginger is a crowd-pleaser; pomegranate has a reputation as the girlie vodka. Last Tuesday, in honor of the restaurant’s twenty-fifth anniversary, friends of the proprietor Roman Kaplan gathered to pay tribute and drink from his array of flavored vodkas. Samovar cofounder Mikhail Baryshnikov ordered horseradish vodka. “Horseradish,” said our companion. “That’s what Baryshnikov got? I trust him.” Baryshnikov’s TV alter ego brought Carrie Bradshaw to the Samovar on Sex and the City, but tonight he was in better company. He availed himself of the buffet—dumplings, sliced fish, beet-striped layer cake, a bowl of bright green pickles—and snapped pictures of his dining companions with a digital camera. “Mazel Tov!” said Philip Roth to Roman when he arrived around eight-thirty, in the middle of several Russian speeches. Roman had already spoken and enjoyed a postspeech indoor cigarette. To Alexander Izbitser, the dapper house pianist, Roth apologized for his own khakis and blazer. He promised he’d wear his tux for the fiftieth. Roman, Baryshnikov, and poet Joseph Brodksy opened the Samovar in 1986. Tuesday night was the anniversary of the late Brodsky’s birth. According to Roman, it also marked sixteen years of Samovar poetry readings as well as twenty-five years of the restaurant. Read More
May 28, 2011 Contests Win Two Tickets to Arcadia By Peter Conroy The Paris Review is giving away two tickets to Arcadia—Tom Stoppard’s paean to poetry and bodies in heat—now on Broadway at the Barrymore Theatre. To win, make like Ezra Chater in The Couch of Eros and wax poetic on the immortal question, “Does Carnal Embrace Addle the Brain?” Keep your lines to a couplet, but in true Stoppardian fashion, let your imagination run wild: anything from the impending Kardashian nuptials to Kate Wood’s philosophy to the (alleged) crimes of DSK is fair game. Share yours in comments below. The winning entry will be announced on Wednesday, June 1.
May 27, 2011 Look Big Sky By Danny Singer Foremost, 2011, archival inkjet print, 40” x 60”. Courtesy Gallery Jones.
May 27, 2011 Ask The Paris Review Words We Don’t Say; The Tao of Travel By Lorin Stein Kurt Andersen had his list of “Words We Don’t Say.” As the editor of The Paris Review, what are some of yours? —Tom Michaels Usage snobbery is a poor man’s snobbery. It has no place at The Paris Review. When Kurt Andersen compiled his list of peeves, he had the excuse of working at New York—a magazine that pretty much exists to market snootiness on a budget. You will notice that most of his verbotens come from the tabloids, the trades, or lifestyle magazines. (There is something, not just ironic, but deep about a lifestyle magazine banning the word lifestyle.) Which is to say, Andersen was doing his job. He was maintaining a tone. Here at the Review we have no such excuse. All we’ve got are hang-ups. I blame mine on The Worth of Words, a late-Victorian usage manual that I picked up at a yard sale during high school and subsequently destroyed. It was too late. The Worth of Words had singed it onto my brain that the phrase due to should be used only in instances of someone actually incurring a debt of gratitude, that aggravate must never be used except in the sense of adding to, and that partially means only “with bias.” (Google Books has now reunited me with this manual and its insane author, Ralcy Halsted Bell. Entry one: “ABORTIVE means of untimely birth … To speak of an abortive attempt or act is hardly short of the ridiculous.” I do not recommend The Worth of Words, and I offer this tiny (partial) list of my own in a spirit of confession and contrition. Recently our managing editor, Nicole Rudick, cured me of an aversion to forthcoming (in the sense of “soon to be published”) with the help of the OED. Here, off the top of my head, are some more: Home (for house) Hopefully (for “I hope”) Disinterest (for “lack of interest”—yes, even though I know it’s totally correct) Delicious, Spicy, Tangy (used metaphorically) Tasty (ever, but especially in reference to a “lick”) Pleasantry (except in the sense of “joke”) Following (to introduce a list: as in “the following”) Contact (as a verb) Relationship (ever, ever, even when it’s the mot juste) Impact (unless we’re talking about, e.g., a car crash) I could go on. (Couldn’t you?) Read More
May 27, 2011 This Week’s Reading Staff Picks: Chad Harbach, The Mets, Masters of the Sob By The Paris Review Last Sunday I stayed in bed till one P.M.—then stayed up till two A.M.—reading the galleys of Chad Harbach’s first novel, The Art of Fielding. To say it’s the best novel I’ve read about a college shortstop would be true, as far as it went, but it’s about more than that: “For Schwartz this formed the paradox at the heart of baseball, or football, or any other sport. You loved it because you considered it an art: an apparently pointless affair, undertaken by people with a special aptitude, which sidestepped attempts to paraphrase its value yet somehow seemed to communicate something true or even crucial about The Human Condition. The Human Condition being, basically, that we’re alive and have access to beauty, can even erratically create it, but will someday be dead and will not.” —Lorin Stein I’ve been reading Jeffrey Toobin’s New Yorker article about New York Mets owner Fred Wilpon with mixed feelings. What Wilpon says about his players makes one wonder if he’s trying to sabotage his own team (which is also mine). Carlos Beltran is overpaid, David Wright is overpraised, José Reyes is always injured. These are opinions an owner should keep to himself. But when Wilpon says, “We’re snakebitten, baby,” he sounds like a true Mets fan to me. —Robyn Creswell If you haven’t read any of Diana Athill’s work, I highly recommend Midsummer Night in the Workhouse, a collection of her short fiction recently released by Persephone. Funny, engaging, and unexpected. —Sadie Stein I very much enjoyed Francine Prose’s short essay “Other Women” in the new feminist-themed Granta. Prose was secretly writing her first novel as a graduate student. She joined a feminist consciousness-raising group, and, after selling the book, she left her husband and moved to San Francisco. Somehow, she says, she became a feminist. But was it before or after she discovered her husband had slept with nearly every single woman in the group? —Thessaly La Force Read More
May 27, 2011 On Music Out of the Vinyl Deeps By Marisa Meltzer Ellen Willis in 1981. Photograph by Jade Albert.I have never particularly enjoyed rock criticism. It has a tendency to read bombastic, and the references feel dated almost instantly. None of this is true of Ellen Willis. When I first started reading her a few years ago, I wondered if I liked her writing simply because we share the same gender; now I think I like her because she was right. Willis, who was a native of Queens and a Barnard graduate, was hired by The New Yorker as the magazine’s first pop-music critic in 1968. Her tenure lasted seven years, and her column, Rock, Etc., covered everything from The Rolling Stones and Joni Mitchell to the birth of punk and Bette Midler. Her criticism could be feisty (Carly Simon’s “wide-eyes lyrics inevitably aroused my class antagonism”) or dismissive (The Velvet Underground’s eponymous album was “all about death, junkies, Delmore Shwartz—stuff like that”), but it was always sharp (Elvis was “John and Paul in one package”). She understood fandom and feminism equally—something all too rare in the present, where music criticism is still dominated by men. Willis was able to love Patti Smith as a rock-and-roll heroine but criticize her identity. She found Smith’s “androgynous, one-of-the guys image” to be problematic. “Its rebelliousness is seductive, but it plays into a kind of misogyny that consents to distinguish a woman who acts like one of the guys (and is also sexy and conspicuously ‘liberated’) from the general run of stupid girls.” Which is why it’s so unfortunate that she stopped writing about music in the early eighties. She felt like music had lost its edge after punk. She certainly didn’t disappear—she taught at NYU, wrote nonmusic criticism, and occasionally chimed in with a review of a Bob Dylan album when she felt like it—but her legacy became somewhat obscure. Her death from lung cancer in 2006, at the age of sixty-four, only made it worse. Read More