August 26, 2020 Arts & Culture The Origins of Sprawl By Jason Diamond Aerial view of Levittown, Pennsylvania. Public domain, via Wikimedia Commons. “The property they [developers] built on had been farmland, overlooked by a big rickety-looking wood frame house,” the science fiction writer William Gibson tells me of his time living in a Charlotte, North Carolina, suburb (“on Blackberry Circle, where all the homes seem to have been built in 1954”) that today is called Collingwood. “I once referred to it [the farmer’s home] as a poor people’s house, and my father corrected me, saying that they [the farmer who owned the land] had lots more money than we did, because they’d sold the rest of their land to the company he worked for, which had built the development,” he recalls of the property the homes were built on. Gibson once described living in that suburb as “like living on Mars,” with no grass and orange clay all around. I remember reading that and thinking about how much his suburban experience sounded like an old sci-fi story. In the eighties, Gibson introduced readers to a burgeoning strain of science fiction dubbed “cyberpunk,” a noirish, computer-and-technology-choked futurescape. Nearly forty years after his groundbreaking 1984 novel, Neuromancer, some would describe Gibson as a modern-day prophet. Set largely in the Boston-Atlanta Metropolitan Axis (basically the bulk of the Eastern Seaboard), Neuromancer depicts a near future affected by war, environmental catastrophe, huge wealth gaps, dependence on the internet, and people looking for any way to dull the pain, from drugs to entertainment. The nickname for this area is “the Sprawl,” and it always struck me as a sad, lonely place. Read More
August 26, 2020 Arts & Culture On Not Being There By Scott O’Connor The balloon seemed to come not so much from another place, but another time. Out of the past, or maybe the future. From a different summer anyway, one with birthday and graduation parties, a summer we’d seen before or one yet to come. It fell slowly, floating toward the field during the bottom of the eighth inning of Opening Night of the 2020 Major League Baseball season, a game under the lights at Dodger Stadium, where the Dodgers were hosting the Giants. A square, multicolored foil balloon, the kind everyone professes to hate because they get caught in power lines and take a million years to decompose, but which remain a staple of celebratory gatherings. Celebrate! was, in fact, printed across the front. In this pandemic summer of isolation and distance, where there wasn’t much to celebrate, the balloon seemed lost. On the ESPN broadcast, play-by-play announcer Karl Ravech sounded incredulous. “How does that happen,” he asked, “with nobody in the stands to blow up balloons?” The balloon touched the infield dirt between first base and second, just a quick kiss, then rose again, drifting low over the ground. None of Ravech’s broadcast partners had an answer to his question. The telecast was silent for a long moment. The players, the umpires, all of us at home watched the balloon. Finally, Ravech asked again into the silence. “Where did that come from?” He sounded shaken, awed. A masked ball boy ran out and grabbed a foil corner, pulling it off the field. The Dodgers’ quick-thinking organist began playing Nena’s eighties hit 99 Red Balloons, the plaintive chords echoing through the empty stands. Read More
August 25, 2020 Redux Redux: August’s Wilt By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. August Wilson. This week at The Paris Review, we’re thinking about, well, August, and how the month is drawing to a close. Read on for August Wilson’s Art of Theater interview, Ben Okri’s short story “The Dream-Vendor’s August,” and Lucia Perillo’s poem “Beauty Bark.” If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review? Or, better yet, subscribe to our special summer offer with The New York Review of Books for only $99. And for as long as we’re flattening the curve, The Paris Review will be sending out a weekly newsletter, The Art of Distance, featuring unlocked archival selections, dispatches from the Daily, and efforts from our peer organizations. Read the latest edition here, and then sign up for more. August Wilson, The Art of Theater No. 14 Issue no. 153, Winter 1999 INTERVIEWER Can you say what first drew you to the theater? WILSON I think it was the ability of the theater to communicate ideas and extol virtues that drew me to it. And also I was, and remain, fascinated by the idea of an audience as a community of people who gather willingly to bear witness. A novelist writes a novel and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling. Read More
August 25, 2020 Arts & Culture Mark Twain’s Mind Waves By Chantel Tattoli ©Ellis Rosen In February, in our family iMessage group, my brother asked our mother to indulge his craving for egg salad sandwiches. “That is so weird,” I replied. “I dreamt of mom’s egg salad two days ago.” It had been years since I had eaten it, but chewing in my dream, I realized the crunch of the celery that my mother added was the secret. “I had the same epiphany!!!” Dustin texted back. “The celery!!!” He went on: Maybe this was the chemo he was doing, but Chinese and BBQ from spots we liked out of state were also appealing. He beat—by half a second—a message I was in the midst of sending about how I longed for food from those exact places. We exclaimed at the chances. Dustin joked that my two-month-old had “given us magical powers,” or that our family dog was controlling our minds. “THE LIMIT DOES NOT EXIST,” he said. When my brother passed away at twenty-nine from complications of leukemia some weeks later, I livestreamed his funeral in Florida from under lockdown in France. The distance between us was imponderable, as great as it could ever be. We’d both wanted the egg salad. That the connection between us would be cut did not follow. Grief breaks your heart; also, it breaks your brain. While we keep the people we love in our hearts, it began to seem that Dustin was in my head more than anywhere else. Mark Twain, though he did not go for spiritualism or immortality, would have agreed that siblings could tune into each other from opposite sides of the ocean. He believed, he once wrote, that a mind “still inhabiting the flesh” could reach another mind at great remove. There was an inciting incident in the spring of 1875 (before Twain’s red hair went gray), which he recollected as “the oddest thing that ever happened to me.” Read More
August 25, 2020 Inside the Issue A Story in One Sentence By The Paris Review To showcase the variety of the short stories published in the Summer issue, we asked the five writers to select a single sentence that marked the moment they first knew what story they were writing. This sentence struck me because it is delivered completely innocently, almost boastfully. It tells us that the narrator has learned about sex in a way that occludes the danger of pedophilia. “Men” shouldn’t kiss “girls,” obviously. Girls are children. Men are adults. —Ottessa Moshfegh, “I Was a Public Schooler” Read More
August 24, 2020 The Art of Distance The Art of Distance No. 23 By The Paris Review In March, The Paris Review launched The Art of Distance, a newsletter highlighting unlocked archive pieces that resonate with the staff of the magazine, quarantine-appropriate writing on the Daily, resources from our peer organizations, and more. Read Emily Nemens’s introductory letter here, and find the latest unlocked archive pieces below. “It was early in the pandemic and our Art of Distance newsletters that I mentioned my daily ambulations through Alphabet City with my pooch, Willow. Then, daffodils were blooming along the East River, seemingly oblivious of the sirens racing up FDR Drive. These days, in that same stretch of park, we’re waiting for the trees that were uprooted in Isaias to be cleared, but we’ve also found a rogue clutch of sunflowers. The city is quieter, by dint of lower viral rates and a certain amount of road-tripping neighbors, and there are picnic blankets dotting the lawns of the park. I used to complain about August here: it was sweaty and stinky and felt like the city went on hold. Everyone who could quit New York did, leaving the rest of us to brave that particular funk of the subway platform when the tunnel temperature crept above 90. But this year, as we brace for the fall’s uncertainty, viral and political, the dog days of summer are particularly welcome. Willow and I are walking slower, longer, and trying to hold on to this pause, this small peace.” —Emily Nemens, Editor There have been few bright spots through the ordeal of COVID-19, but for the staff of The Paris Review, one of them has been welcoming some new wolves into the pack: two colleagues have acquired pandemic puppies (Cashew and Penny). In celebration of our canine companions, here are some selections from the archive: “The dog was not demanding, it was modest in its requirements, although it drank a lot of water; it liked its water. It could square itself off like a package in a chair, it could actually resemble a package.” In Joy Williams’s “Substance,” Louise is delivered an unexpected furry gift. Read More