October 2, 2019 Comics Our Nightmare Future By Jason Novak A short, uplifting comic by Jason Novak. Read More
October 2, 2019 First Person Memoirs of a Queer Revolutionary By Lou Sullivan Like many other queer writers and activists of his generation, Lou Sullivan lived a painfully short life: he died in 1991, at the age of thirty-nine, from complications related to AIDS. But he left behind a wealth of material, thirty years of diaries chronicling, in joyous detail, his emerging sense of self, his relationships, and his daily triumphs. As arguably the first publicly gay trans man to medically transition, Sullivan found himself walking a path few had previously trodden. Without models for how to live, he found his own way, refusing to compromise his identity, working tirelessly to help others, and all the while keeping careful note of his day-to-day. Sullivan never realized his dream of publishing his diaries, but We Both Laughed in Pleasure: The Selected Diaries of Lou Sullivan, 1961–1991, published last month by Nightboat Books, finally brings Sullivan’s writing to a wider audience. An excerpt appears below. Image from the Louis Graydon Sullivan papers, courtesy of the Gay, Lesbian, Bisexual, Transgender Historical Society. Yesterday T + I rode our bikes through GG Park, he was leading me through hidden path + trails. Found a secluded spot + laid in the grass. Told me he wished he could introduce me to his family + be open with them about us, but he knew he never could, that he has always strived to be what they expected him to be, especially his ma. He said he felt that way even if I were a normal man + we were together, so I don’t feel too bad. Then he asks me if I have any problems with our relationship + I said yes: I wish he’d turn off the iron by the switch instead of just pulling out the cord (telling him in that way how content I am). He pressed me further + then said I never tell him how I feel about him! I couldn’t believe it, and so tried my best to express to him how much he means to me. Read More
October 1, 2019 Arts & Culture Giorgio de Chirico’s Italian Poetry By Stefania Heim Left: Giorgio de Chirico, The Soothsayer’s Recompense, 1913 Right: De Cherico in 1936, photographed by Carl Van Vechten Despite living in New York City for more than five decades, my ninety-three-year-old grandfather still doesn’t speak English. No, that’s not quite right. During my childhood, his language did have some English in it. He used a relatively common, if idiosyncratic, commixture of words from his native and adopted tongues. Linguists have studied this pidgin: the way it grafts Italian endings onto English building blocks, the inflection and pronunciation that come from the speaker’s more intimate regional dialect. For him it was Roccolano, the near-extinct language from his small town in Italy’s Molise region. “R’abbassamend’,” my grandfather calls the basement he never had before New York; that opening “r” is Roccolano’s masculine article replacing both “il” and “the,” the following “a” maybe a logical connection to Italian’s “abbassare” (“to lower”). This kind of language is a historical phenomenon—the product of migration patterns and economics, schooling and lack thereof. It is born from necessity: urgent speech with a social services provider, with a bus driver, with a recalcitrant young grandchild seemingly deaf to the Italian reprimand she very well understands. Of course, it spreads beyond these contours. I vividly remember my confusion and embarrassment when he used this pidgin in Italy, with Italian strangers, family, and friends. Each of his marked words represented both communication and the limits of communication; they spoke volumes about him, what he had achieved, what he had given up. My siblings and I also spoke a hybrid language, but it had none of the urgency of my grandfather’s. Ours was playfully combinatory and private. We would squeeze Italian roots through the more blunt frames of English structure and sound. It was especially pleasing if the word contained an “r,” the consonant in which Italian and English most diverge. We’d dull our rolls and trills with glee: “Put on your scarps!,” we’d command, instead of shoes. We’d use the “s” prefix that makes a negative of Italian words and introduce it willy-nilly to English ones: the plausible “sfortune” for “sfortuna/misfortune,” the further afield “swalk!” for “stop walking.” But ours wasn’t the Italian-American “gabagool,” because it was important to us that we knew better than that.We could speak real Italian if we wanted to. We always said “capicola.” Read More
October 1, 2019 Redux Redux: Courting Sleep 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. Cynthia Ozick. This week at The Paris Review, we can’t sleep—our theme is insomnia. Read on for Cynthia Ozick’s Art of Fiction interview, Georges Perec’s short story “Between Sleep and Waking,” and Susan Barbour’s poem “Insomnia.” 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 make sure to listen to the new trailer for The Paris Review Podcast—Season 2 premieres October 23! Cynthia Ozick, The Art of Fiction No. 95 Issue no. 102 (Spring 1987) INTERVIEWER You write all night. Have you always done so? OZICK [Speaking, not yet typing.] Always. I’ve written in daylight, too, but mainly I go through the night. INTERVIEWER How does this affect your interaction with the rest of society? OZICK It’s terrible. Most social life begins in the evening, when I’m just starting. So when I do go out at night, it means I lose a whole day’s work. Read More
October 1, 2019 First Person Motherhood Makes You Obscene By Marguerite Duras Marguerite Duras. My mother had green eyes. Black hair. Her name was Marie Augustine Adeline Legrand. She was born a peasant, daughter of farmers, near Dunkirk. She had one sister and seven brothers. She went to teachers college, on a scholarship, and she taught in Dunkirk. The day after an inspection, the inspector who had visited her class asked for her hand in marriage. Love at first sight. They got married and left for Indochina. Between 1900 and 1903. A sort of commitment, adventure, a sort of desire, too, not for fortune but for success. They left like heroes, pioneers, they visited the schools in oxcarts, they brought everything, quills, paper, ink. They had succumbed to the posters of the era urging, as if they were soldiers: “Enlist.” She was beautiful, my mother, she was very charming. Many men wanted her over the years, but as far as I know, nothing ever happened outside of her marriages. She was brilliant, and had an incredible way with words. I remember her being fought over at parties. She was one of a kind, very funny, often laughing, wholeheartedly. She was not coquettish, all she did was wash herself, she was always extremely clean. She had a sewing machine but she didn’t know what to have it make. I, too, until I was fourteen or fifteen, dressed like her, in sack dresses. When I started to become interested in men, I picked out my outfits more carefully. Then my mother had me sew incredible dresses, with frills, that made me look like a lampshade. I wore it all. I’ve written so much about my mother. I can say that I owe her everything. In my everyday life, I don’t do anything that she didn’t do. For example, my way of cooking, of preparing a navarin of lamb, blanquettes. My love of ingredients, she had, too. I bore everyone at home with that. When there’s no extra bottle of oil on hand, it’s a problem. That’s normal. What’s abnormal is buying only one bottle of oil. What can you do with just one bottle of oil? What a disaster! What I’ve also inherited from my mother is fear, the fear of germs, along with the constant need to disinfect. This stems from my colonial childhood. Although my mother was very smart about practical things, she didn’t concern herself at all with the domestic realm. As if it didn’t exist. As if the house were a temporary thing, a waiting room. But the floors were washed every day. I don’t think I’ve ever met anyone more clean than my mother. Read More
September 30, 2019 At Work Rigorous Grace: A Conversation Between Leslie Jamison and Kaveh Akbar By Kaveh Akbar Kaveh Akbar, left, and Leslie Jamison, right. Leslie Jamison makes her life more difficult than it needs to be. In her most recent essay collection, Make it Scream, Make it Burn, the subjects she chooses—the world’s loneliest whale, Second Life devotees, the Museum of Broken Relationships in Croatia—could carry the pieces with their propulsive novelty alone. Certainly, Jamison is brilliant enough as a sculptor of language that we’d happily oblige her. But what makes Jamison one of the essential essayists of our generation is her rigor. She renders her subjects, the world that made them, and her own gaze all within the same frame. In each of these essays, there is the subject, but there is also the long history leading up to it, and then there is also Jamison herself, observing and writing. So should we call her new book journalism? Or literary criticism? Or memoir? Yes. For an imagination, a curiosity, as expansive as Jamison’s, there can be no partitions. Her writing, like her mind in this conversation, leaps freely between each world. AKBAR Can we begin by talking about grace? One of the things I’m most drawn to in the book, and in your work more broadly, is the steady orbit you make around the idea of grace. There’s a moment in one of the early essays in this collection where you crystallize it, writing: “The definition of grace is that it’s not deserved.” I have been grappling with this idea in my own life, the notion that if I’m capable of doling out grace only to those obviously deserving of it, it isn’t grace exactly. It’s kindness or it’s pity or it’s maybe even just propriety. What is grace to you? And what can it do? JAMISON Starting with grace is like diving into the deep end of the swimming pool—so much better than slowly lowering each inch of thigh down the steps in the shallow end. Or maybe it’s really like diving into the deep end of an infinity pool, where you come up to the edge and see that below is a more infinite body of water than the one you’re swimming in. Which is part of what grace means to me, you feel the world get larger around you, feel yourself get smaller within it. And the world can get large around you in so many ways. As a bespoke digital wonderland, as the infinite hall of mirrors of your prior lives, as a big blue whale large enough to swallow us all. All of these things—mythic whales, past lives, digital waterslides—can be sources of grace. The vending machine of grace is vast and it never gives you exactly what you asked for. And that means we have to pay attention, because we’re not always aware that grace has arrived. As you wrote, “I live in the gulf / between what I’ve been given / and what I’ve received.” Read More