June 14, 2010 At Work Katherine Dunn By Caitlin Roper It took seventeen years to get from my second novel, Truck, to my third, Geek Love. Katherine Dunn’s novel, Geek Love, is the most singular, evocative, twisted, hilarious book I have ever read. Every sentence contains a surprise. There is nothing else like it. I’ve given a copy of Geek Love as a gift at least once a year for the last decade. A while ago, I wrote Katherine Dunn a fan letter. In reaction to my heaps of heartfelt praise, she said simply, “I’m so grateful that you found it funny. Not everyone gets the jokes.” Our correspondence ranged from marriage to Mike Tyson’s pigeons, but there was one steady thread—my repeated nagging for a short story or piece of fiction to read and consider for the magazine. I learned from Katherine that I was not her only fan among Paris Review editors. “Shortly before George Plimpton died, he phoned me out of the blue—he was a legendary figure for my generation so this blew my pulse rate to ecstatic shreds—asking to include one of my pieces in a volume of boxing stories he was planning to edit. It would have been a great honor.” A new Katherine Dunn story in The Paris Review, the issue’s printed, and my pulse has not yet returned to normal. Since Geek Love was published in 1989, you’ve published many articles, essays, even poetry, but not much fiction. Does fiction take longer to simmer? Yes, I’ve only published a few short stories in anthologies. Some projects do take longer to gel. But nonfiction is done on a deadline so somebody snatches it away and prints it. Twenty years is a long time for something to gel, what has happened? I don’t want to be glib here, but twenty years worth of life and work happened. Some might say I’m right on schedule by my lights. It took seventeen years to get from my second novel, Truck, to my third, Geek Love. And Cut Man is still in progress but it’s a longer book. Fortunately there’s no shortage of wonderful novelists to keep us all engaged. And, lucky for me, the Magi at Alfred A. Knopf are possessed of patience. Read More
June 11, 2010 Ask The Paris Review Assholedom, Henry James on Facebook By Lorin Stein Boy Reading, by Thomas Pollack Anshutz.I am leaving my girlfriend and I keep trying to be “nice” about it, but I don’t think it’s helping either of us. In fact, it’s just making this painful process take longer. I really need to be an asshole and steep myself in assholedom. Any suggestions for where to start? —E. Stigler, New York City “Where to start”? Where to start? What kind of asshole are you? You could try to pick up another woman and install her in your apartment, like Jean-Pierre Léaud in The Mother and the Whore. This will require a sidewalk cafe. Or you can nerve yourself up with Leonard Michaels’s novella Sylvia, all about a “nice” young man who stays in a miserable marriage, with disastrous consequences. Some guys swear by The Genealogy of Morals or the Maxims of La Rochefoucauld, or you could wallow in Brief Interviews with Hideous Men or that godawful Neil LaBute movie In the Company of Men. But if assholery doesn’t come naturally to you (and clearly it doesn’t), I recommend the eccentric but wise (and utterly absorbing) study Love and Limerence: The Experience of Being in Love, by the late Dorothy Tennov. Dr. Tennov argues persuasively that the kindest breakups are those that leave no room for hope. Be a mensch—pull the plug. Read More
June 11, 2010 Terry Southern Month The Worm-ball Man Letter By Lorin Stein In the early eighties Terry Southern sent his Saturday Night Live collaborator Nelson Lyon an envelope containing three tabloid clippings and a letter written on ten sheets torn from a legal pad. Lyon calls this document “The Worm-ball Man Letter” and has shared it with many people. In the humble opinion of The Paris Review Daily, it may well be the best pitch—for anything—ever written. The original came with clear instructions from Southern: “Read after having read, and understood—repeat, understood—the news items.” Read More
June 11, 2010 From the Archive Wells Tower Wins Young Lions Fiction Award By Christopher Cox Congratulations to Wells Tower, whose short-story collection Everything Ravaged, Everything Burned won the New York Public Library’s Young Lions Fiction Award last night. Tower’s first two published stories were picked from the slush pile by The Paris Review way back in 2001, and both showcased what Edmund White called the “tensile strength” of his style. “His range is wide,” wrote White, “and his language impeccable, never strained or fussy.” You can hear Tower read the first of the two stories we published, “Down through the Valley,” by clicking here.
June 11, 2010 World Cup 2010 On Being an American By David Wallace-Wells There is nationalism, Arthur Koestler said, and then there is football nationalism, the latter being much more deeply felt. But soccer nationalism—soccer nationalism is another thing entirely. For a Brit like Will Frears, English football encodes plenty of thinking-man’s-ambivalence about the country itself—its haughty self-regard, its classishness, its sporadic hooliganism. In America, delightfully, conveniently, soccer decodes ambivalence. On the field, the United States is not a superpower but a scrappy younger sibling, not racially strifed but Benetton-harmonious, not stratified by class but unified blandly by a rec-league middle-classness. Soccer isn’t war, it’s much more self-denying than that, something closer to noble pacifism. Americans have tribal instincts, too, though we check them, and soccer nationalism might be our only form of bloodless imperialism—a chance to root for our country when it doesn’t actually mean anything. Soccer loyalty, unlike national loyalty, is lightly-felt and light on its feet; it is a weak nuclear force; it is winning. Not literally winning, of course. Over the last generation American soccer has climbed out of the realm of the putrid but pitiful and ascended to discourteous mediocrity. This makes us, somehow, only less loveable to the rest of the world. But being an underdog is perhaps the most cherished position in American sports. Here, we actually like surprises, unlike Europeans—whose leagues feature no playoffs, no salary caps, and punish lackluster teams by actually demoting them, like bad students—and all the more so when we’ve been along for the ride. Here, we might even prefer surprises to excellence. And being mediocre means we’re only a lucky break from attaining decency. Read More
June 11, 2010 World Cup 2010 The Beautiful Game By Will Frears A few Saturdays ago, Inter Milan, an Italian team without any Italian players that’s coached by a Portuguese, won the Champions League final against Bayern Munich, a German team, coached by a Dutchman, whose two best players are Dutch and French, known in Germany as FC Hollywood, by playing that most Italian of games: Il Catenaccio. Catenaccio translates loosely as door bolt. It is Italy’s gift to the world game; it is anti-space, anti-movement and it seeks to corral the match in the defensive third of the field. It’s how they won the last World Cup. In tandem, that is, with being fitter than anyone else. They simply wore the other team out by making them do all the running and then scored in the last ten minutes when the other team was knackered. Inter’s victory can confidently be described as Italianate in the sense that it is in the Italian tradition, but can it be called Italian? It is an Italian club in an Italian city owned by an Italian and supported by Italians. On the pitch itself though, these are foreign mercenaries representing Italy (an idea that complicatedly makes the Inter team more-rather-than-less Italian in a Swiss Guards, Borgias are actually from Spain kind of way). Would it have still been an Italian victory if the soccer itself had been less Italian in its style; if Inter had played like Barcelona would that have made it a more or less Italian victory? Does Italian heritage and Italian style outweigh the complete lack of Italians playing in the actual game itself? These questions do not present themselves in the World Cup. In the matter of national identity, the World Cup is very simple: the team is the country, and the country is the team. Read More