July 1, 2020 At Work Music-Making across the Distance: An Interview with Alan Pierson By Garth Greenwell Still from Ten Thousand Birds / Ten Thousand Screens I first met Alan Pierson in 1996 at the Eastman School of Music in Rochester, New York. I was a freshman voice major, and Alan was a first-year graduate student in composition. We got to know each other through music: Alan signed up as my pianist for lessons and recitals, and we have remained very close friends ever since. During the end of his time at Eastman (he would eventually, in 2006, earn his D.M.A. in conducting), Alan founded the sixteen-player new music ensemble Alarm Will Sound, which quickly established itself as a vital part of the new music scene in New York. Over the past two decades, AWS has premiered pieces by John Adams, Steve Reich, Wolfgang Rihm, and Meredith Monk, and has produced a wide-ranging discography, including music by Donnacha Dennehy, David Lang, and Aphex Twin. In addition to his work with AWS, Alan is principal conductor of Dublin’s Crash Ensemble, codirects the Contemporary Music Ensemble at Northwestern University, and is a frequent guest conductor for ensembles including the Chicago Symphony Orchestra, the Los Angeles Philharmonic, and the London Sinfonietta, among many others. In 2014, AWS premiered John Luther Adams’s piece Ten Thousand Birds as an immersive outdoor musical experience. On June 3 of this year, Alan and AWS released a new video, Ten Thousand Birds / Ten Thousand Screens, for which Alan and his boyfriend, Paul Melnikow, reimagined the piece using twenty-six phones, tablets, laptops, PDAs, and iPods carefully arranged around their Brooklyn apartment. The result is a strangely beautiful, moving, charmingly wacky experience. On May 26, I spoke with Alan via Zoom about this project, Alarm Will Sound, and his vision for music-making in an age of social distancing. Read More
July 1, 2020 Arts & Culture Ashes to Ashes, Eel to Eel By Patrik Svensson Katsushika Hokusai, Big Eels, ca. 1840, woodblock print, 5 1/4″ x 7 1/2″. Public domain, via Wikimedia Commons. In one of the twentieth century’s most memorable scenes from literature, a man is standing on a beach, pulling on a long rope that stretches out to sea. The rope is covered in thick seaweed. He yanks and tugs, and out of the foaming waves comes a horse’s head. It’s black and shiny and lies there at the water’s edge, its dead eyes staring while greenish eels slither from every orifice. The eels crawl out, shiny and entrails-like, more than two dozen of them; when the man has shoved them all into a potato sack, he pries open the horse’s grinning mouth, sticks his hands into its throat, and pulls out two more eels, as thick as his own arms. This macabre fishing method is described in Günter Grass’s 1959 novel, The Tin Drum. Rarely has the eel been more detestable. The eel does not appear frequently in literature or art, but when it does, it’s often an unsettling, slightly revolting creature. It’s slimy and slithering, oily and slippery, a scavenger of the dark that salaciously crawls out of cadavers with gaping mouth and beady black eyes. Sometimes, however, it’s more than that. In The Tin Drum, the eel actually plays a rather important role. It both foreshadows and triggers tragedy. Read More
June 30, 2020 Arts & Culture A Letter to the Professor Whose Name I Carry By Malcolm Tariq Rudolph P. Byrd Dear Dr. Rudolph P. Byrd, Scores of Brooklynites are marching on the busy street in front of my apartment. I’m watching from the window, hearing white people chant, “Whose streets? Our streets!” I’m happy to see the support for Black Lives Matter, but here in gentrified Brooklyn, I can’t help but find that funny. I recorded two minutes of it in the event that it’s useful if I ever write poems again. (Cataloging has been a habit of mine this month.) It’s times like these that I miss teaching, sitting with cohorts of first-year college students as their safe worlds are torn apart by conversations around race and privilege. But all of that makes me recall my own reckoning, the moment when I realized the extent to which the law functions to serve these white students more than myself. That was the fall of 2011, the year the State of Georgia executed Troy Davis. And about a month later, you died. I sometimes think about Adrienne Kennedy’s People Who Led to My Plays, and who I would put in such a book, were I to write it. As a Black, gay, Southern artist, I want to practice intentional ways of memorializing people of influence. This is important for me, for the “people who led to my plays” are often those that will never have buildings or other monuments named in their honor. I imagine that some don’t even have headstones. I like to think of my writing, if not as a headstone, as an homage. Much of it is an homage to people like you who have shaped how I reimagine the world that has been given to me. Read More
June 30, 2020 Redux Redux: Nor Staple Down to Fact 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. Jeanette Winterson. This week at The Paris Review, we’re highlighting queer and trans writers in our archive in honor of Pride. Read on for Jeanette Winterson’s Art of Fiction interview, Jericho Brown’s “The Trees,” Timothy Liu’s “Action Painting,” and a selection of diary entries by Jan Morris. If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review and read the entire archive? You’ll also get four new issues of the quarterly delivered straight to your door. And for as long as we’re flattening the curve, The Paris Review will be sending out a new 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. Jeanette Winterson, The Art of Fiction No. 150 Issue no. 145 (Winter 1997) INTERVIEWER One might say that your writing is characterized by a kind of excess. Have you gotten different responses to that aspect of your work? WINTERSON If you want something to be clear straightaway then it’s probably better not to read my books. Read somebody else’s. I don’t really feel that I should be held accountable for writing the kinds of books that I want to write just because some reader I can’t imagine or will never know doesn’t want to read them. It seems a bit unfair. You can’t win in the art stakes, because there is always somebody who is cross with you. So that’s why it is better not to care and instead think, Well, I must really do my work, hope that it reaches people and leave the rest to chance. That’s often mistaken for arrogance, but it isn’t. You have to believe that you are good, because if you think you are rubbish, why are you doing this stuff anyway? And what are you doing chucking it out there for people to buy? I think that would be the true arrogance—if you thought your stuff was rubbish and still got people to pay good money to read it. Read More
June 30, 2020 First Person American, Indian By Jaswinder Bolina Photo: John H. White. Courtesy of the National Archives at College Park. Public domain, via Wikimedia Commons. You know why they call them Indians? Because Columbus thought he was in India. They’re called Indians because some white guy got lost. —Herb Stempel, Quiz Show We called them American bhua and American phupher, the middle of my father’s three older sisters and her husband. As the vanguard of my family’s transplants to the U.S., they’d been assigned these honorifics by their nieces and nephews living then in England. American phupher arrived in Chicago for a temporary stay in the late fifties, then returned permanently with bhua in 1971. Together they raised three children while she labored in an electronics assembly plant, and he worked first as a diesel engineer for the Chicago Transit Authority and later in its managerial ranks. In their earliest years here, they would occasionally receive a phone call from a stranger who had just arrived at O’Hare on British Airways or Air India. The callers didn’t speak much English, and they had no friends or family in the city; they’d simply found a pay phone in the terminal, opened the directory, and dialed the number next to any name that sounded like it came from their part of the world. When these calls came in, my uncle would drive from the family’s apartment in Logan Square to the airport and collect the newcomers, whether they were Punjabi, Pakistani, or Bangladeshi, whether they were Hindu, Muslim, or Sikh, and he and my aunt would host them, sometimes for months, until they had secured employment and apartment leases. This is a kind of generosity that has been practiced by generations of immigrants to and from every part of the world. Among South Asians, such ethnic esprit de corps is captured most succinctly by the term desi, which Vijay Prashad defines to include those of Indian, Pakistani, Bangladeshi, Afghani, Sri Lankan, and Nepalese descent. It isn’t his invention. It’s commonplace enough among my family that I know it to mean one of us in a manner akin to the Italian paisan. Derived from Sanskrit, desi refers to umber skin and curried English, but—like paisan again—its application isn’t entirely seamless. Where outsiders might see homogeneity, immense internecine tensions permeate the histories of the desi peoples. Even among Indians arrived in the West from what is ostensibly a single country, there are chasms of cultural, linguistic, and religious difference that make India more like the fitful cohesion of Europe’s constituent nations than anything resembling the U.S. Uniting all our tongues, gods, cultures, and bodies under a single desi banner is tribalism elevated to a continental scale, and it doesn’t quite work. Yet desi isn’t a wrong category for us to embrace. When you live in a place that doesn’t recognize differences between you and anyone who looks vaguely like you, you come to accept, even welcome, certain conflations. Partition isn’t much remembered. Who assassinated whose head of state and for what reason doesn’t seem to matter any longer. The cold war over Kashmir, the occupation of Amritsar, the Bangladesh Liberation War, the centuries-long history of persecution and conflict across South Asia—these are hardly known, much less understood, in the West. Here, survival matters. Wellness matters. It matters that we have each other. Growing up in Chicago in the eighties and nineties, it seemed to me that I really might be related to anyone with brown skin and a Bollywood accent. My “uncles” and “aunties” were Gujarati and Pakistani, Hindu and Muslim, Jatt Sikh and Saini. They were shopkeepers and cab drivers, laborers and tailors, professors and physicians. If it takes a village, I lived in a flourishing and richly populated one. Still, in that village, I have long felt like a freeloader. Though I understand and speak Punjabi and can muddle through a modicum of Urdu and Hindi, though I wore kurta pajamas as a kid and can cook a few sabzis, I know little of the vastness and diversity of the desi nations. From my one visit to India, when I was four, I remember nothing but a sensation here, an image there: a water well between stalks of what might have been sugar cane, saag and corn flour roti cooking under an open sky at night, bathing in the reservoir surrounding the Golden Temple, smoke and the lingering smell of burning hanging over farm fields. This is the entirety of my firsthand reporting on a nation of more than a billion people and its sixty-five thousand years of history. Like every other child of immigrants here, first-generation or fifth-, my distance, my detachment, and my ignorance make me an American. Read More
June 29, 2020 The Art of Distance The Art of Distance No. 15 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. “As we move from spring to summer, as the days shift from getting longer to getting shorter, as some states push to reopen while others are placing new restrictions, I find myself split as well: wild to get outside, and desperate to crawl into a hole with a very big book. So I’m taking many walks outside with my family’s new puppy, Cashew (yep, we got a pandemic pup), and my current pandemic reading plan involves books in series—since reading all three volumes of Octavia E. Butler’s Xenogenesis trilogy, I’ve moved on to alternating between Elena Ferrante’s Neapolitan novels and Rachel Cusk’s Outline trilogy (you’ll find these last two authors’ Art of Fiction interviews unlocked if you click their names). And so this installment of The Art of Distance, which offers another deep dive into the work of a single writer, features the poet Carl Phillips, whose work resonates for me in ways public and personal. I love the syntactical challenges his poems pose, of course, but his work in the TPR archive also forms a bit of a series—Phillips has conducted one Art of Poetry interview and been the subject of another; in the latter, he also talks a good deal about walking his dog, so we’ve got that in common. These connections may seem tenuous, but in these weird times, I’ll take what I can get. May you, too, find focus, clarity, and a sense of shared consciousness and conscience in Phillips’s work.” —Craig Morgan Teicher, Digital Director Carl Phillips. Photo: Reston Allen. Carl Phillips is one of America’s most beloved contemporary poets, known for his command of English syntax, his blending of classical mythology and contemporary concerns, and his deep explorations of eros and its implications. As judge of the Yale Younger Poets Prize, he has also been an advocate for new writers, launching the careers of Eduardo C. Corral, Airea D. Matthews, Yanyi, and others. Read More