November 2, 2010 Arts & Culture All My Real Estate Agents Have Always Been Writers By Emma Straub Patchin Place, off 10th Street at Sixth Avenue, where e. e. cummings once lived. Photograph by Berenice Abbott. Some writers learn by practicing their craft alone in their rooms, some by a mentorship with a beloved teacher, some by M.F.A. committee. I have always tried to learn by osmosis: by placing myself in the physical location of genius, on the off chance that some greater force clinging to the chandelier would attach itself to me and give my writing a cosmic boost. Though I did spend many nights in my early twenties at the Cedar Tavern (where there was certainly some cosmic mojo to be had), the easiest path to absorbed genius always seemed like the real estate section of the newspaper. I found my first apartment a couple of months after graduating from college—a studio on Perry Street, at the curious point in the West Village when 4th Street finds itself between 10th and 11th Streets. Though I knew the neighborhood a bit from my own teenage explorations, there was one simple reason I wanted to move to Perry Street. Ted Berrigan, one of my favorite poets at the time, wrote this in 1963: I think I was thinking when I was ahead I’d be somewhere like Perry Street erudite dazzling slim and badly loved contemplating my new book of poems to be printed in simple type on old brown paper feminine marvelous and tough. Feminine, marvelous, and tough. I wanted it tattooed on my forehead. Never mind that in 2002 a pair of Marc Jacobs stores sat around the corner from Perry Street, and I was too intimidated by the salespeople to walk into either of them. I was tough and feminine and absolutely convinced that living on Perry Street would make my writing more wild, which it did: I wrote a long, messy novel that took Wuthering Heights and put it in my high school. There was incest, in a sexy way, like Flowers in the Attic. I forced my boyfriend to paint the entire room a shocking shade of pink and shoved my tiny desk against the oven, which was good for two reasons: The first was that I never used the oven, not once, and the second was that an entire family of mice soon took up residence inside the oven’s walls. Read More
November 1, 2010 On Sports A World Series Serenity Prayer By Louisa Thomas Dear Will, I trust you had a good time as a Giants fan last night. Is it too much to hope you’ll remain one? As our kind readers have assured me, the San Francisco bandwagon has room for all. I can’t imagine why you’d want to leave it—the Giants are too much fun. Last night they put a lanky kid named Madison Bumgarner on the mound. He recently bought a bull calf for his wife’s birthday. (She requested it.) He’s twenty-one years old, their number-four starter, but he pitched a game for the ages. Of course, he had help. We’ve been talking about pitching and hitting—what about fielding? Josh Hamilton probably had the highlight last night, with a slip-‘n’-slide catch in center to save an RBI single, but the Giants played a monster defensive game. Cody Ross continued his postseason heroics by making a grab on the slide. The infielders spun double plays with abandon (and a little good playacting, fooling the umps on at least one occasion). And I don’t think I’ll ever forget the sight of Freddy Sanchez flinging himself up and back to snare a shot that seemed destined for right field. Fully extended, leaning back blindly, somersaulting to protect the precariously held ball—it was a leap of faith. Faith in himself and in physics, in the determined arc of a batted ball. Who needs gods when you have such gloves? The Giants’ first two wins had commentators giving credit to the alignment of the stars. ESPN’s Jayson Stark invoked the heavens so many times that I started to think he was serious. In game 4, the Giants proved once and for all that the answer to their success is simple: They’re really, really good, better than the Rangers! They’re lucky, too. Luck is part of the game. The Giants control what they can control, and they shrug off the rest. Read More
November 1, 2010 Arts & Culture A Filmy Kind of Dread By Liz Brown Georges Simenon famously wrote in a kind of concentrated trance state, starting and finishing books within a matter of weeks, sometimes days. And that has always seemed to me the best way to read him, too—in a concentrated trance state. Quick, immersive, done. (See his Paris Review interview here.) I don’t necessarily remember many details afterward—just a blur of images, a filmy kind of dread—but once I begin to read his work, especially the romans durs, nothing else exists but the slide into whatever seedy underworld awaits: cheap hotel rooms, colonial outposts, occupied cities, whorehouses, and roadside bars. Whiplash quick, atmospheric, his are usually the skinniest books on the shelf. So, at five hundred and forty-four pages, his autobiographical novel Pedigree is something of a departure, and not simply in terms of length. Pedigree is the book that Simenon spent the most time on, and it’s the one where the most time passes. Set in his birthplace, Liège, it opens in 1903 and continues through 1918, just after the Armistice. Liège, the town where Georges Simenon was born. Read More
October 30, 2010 On Sports Of Gods and Men By Will Frears Dear Louisa, I hope you’ve been enjoying yourself so far. I have a serious question to ask you; in fact, I have a serious piece of begging to do. May I please switch teams, just for game 4? It’s not the Texas collapse that leads me to this embarrassing volte face. It’s not Cliff Lee’s implosion that I mind—although we have to discuss that—or the fact that Josh Hamilton and Michael Young are hitting a buck twenty-five each, or even that Matt Cain looks like he’s wearing a clown wig under his cap in honor of Halloween. These are all things I can deal with. No, the problem is that the George Bushes, pere et fils (just to be elitist about it) are scheduled to throw out the first pitch in game 4. I had been willing to overlook the issue of previous ownership, but this is too much. I would like the Rangers to win tomorrow, lose game 4 and then have Cliff come back and win game 5 with me a fan all over again. What do you think, is this possible? Read More
October 29, 2010 Ask The Paris Review Happy Halloween! By Lorin Stein Last week you asked for Hallowe’en reading. This week we asked our favorite cineaste, Richard Brody, to recommend a scary movie: Georges Franju’s Eyes Without a Face. It’s from 1960 and it’s still pretty damn creepy. It’s a mad-scientist story of a doctor who captures young women at his compound in order to experiment with transplanting a face onto his daughter’s disfigured one. Franju, inspired by Surrealism, keeps the tone precise and chilly and lets the horrific strangeness emerge in quiet details and jolting juxtapositions. For the macabre-minded, it’s as much an instructional manual as a cautionary tale. Sweet dreams!
October 29, 2010 Arts & Culture My Werewolf Fantasy By Kate Waldman When I was in second grade, I wanted to be a werewolf. I’d been raised to think that most of my goals were within reach, if I only applied myself. Also, a good friend had just upped and moved to Martha’s Vineyard, so I had time on my hands. I practiced my snarl for half an hour after school each day, baring my teeth in the bedroom mirror. At recess, I crawled under the shed, convinced I was allergic to sunlight (I’d gotten my horror myths confused). I’m not sure where my werewolf fascination came from—maybe I felt social cliques tightening around me, and monsters suggested the blurring of boundaries: between humans and animals, for instance, or earth and the underworld. More likely, though, it was about power. I longed for the thrill of being feared, of commanding fear. Not all the time, of course. Once I attained shape-shifter status, I knew I would spend the majority of my day undercover. The secret would be part of the fun: Who would suspect that, beneath my quiet facade, a supernatural fury waited to erupt? Lycanthropy was an insecure girl’s backup plan, for use as needed. As I got older, the fantasies took a new form. I started to imagine dating werewolves. They were, unfailingly, cute guys who turned into dangerous beasts when I needed protection. One, who showed up during my Ben Folds Five phase, played rock piano and hated the suburbs. Another, an ice-hockey player, memorialized a very short-lived interest in the Washington Capitals. They melted in and out of my high-school existence at odd intervals. Feeling lonely or undesirable, I would retreat to my inner woods, where they waited: strong, loving, but also ineffably menacing. I was deliciously aware that any one of these soul mates could hurt me if he wanted to. Apparently, it was intoxicating to be scary, but being scared was even better. Read More