July 19, 2019 This Week’s Reading Staff Picks: Mothers, Moons, and Marc Maron By The Paris Review Oliver Beer. Photo: Adam Reich. © the artist. Every object, the British artist Oliver Beer said as he introduced his Vessel Orchestra last Friday at the Met Breuer, makes a sound, different for each object but always the same sound, constant and unchanging: the thing sings forever at an unchanging pitch. In this installation, thirty-two objects drawn from around the museum, including a Miró vase from 1942 and a five-thousand-year-old ceramic jar from Iran, have been hooked up to tiny microphones and speakers. I don’t at all understand how this works, but when a certain note is played, you can hear the object whose note it is respond. The Vessel Orchestra will be on view at the Met Breuer until August 11, and every Friday, a different group of musicians and writers will, essentially, “play” it. The artists at the performance I attended were the band Mashrou’ Leila and the novelist Rabih Alameddine, who read a series of texts about robing and disrobing, veiling and unveiling. The experience was mysterious to me, the songs being sung mostly in a language I don’t understand, the vases and jars resonating via a process as inexplicable to me as the one that creates consciousness. But there was resonance, harmony, and it made me think that perhaps those are the things we should be seeking—trying not to change ourselves in whatever ways are fashionable but to tune ourselves, to find our own frequencies; trying not to make ourselves heard but just to find resonance with whatever out there is tuned the same. —Hasan Altaf Read More
July 19, 2019 Arts & Culture Auden’s Grumpy Moon Landing Poem By Nina Martyris Shortly after Apollo 11 put men on the moon and brought them safely back to earth, W. H. Auden, widely regarded as the greatest living English poet of the age, wrote a poem about it. It’s called “Moon Landing,” and from start to finish, it’s one long grumble. Untouched by the sublime romance of the moon mission, Auden’s poem opens: It’s natural the Boys should whoop it up for so huge a phallic triumph, an adventure it would not have occurred to women to think worth while, made possible only because we like huddling in gangs and knowing the exact time Auden’s prolific career is divided into Early Auden (his years in England) and Later Auden (his American years). “Moon Landing” falls in the latter category. But it works better as a funny, peevish, poignant example of an important subgroup: Grumpy Auden. Read More
July 19, 2019 Eat Your Words Cooking with Bruno Schulz By Valerie Stivers In Valerie Stivers’s Eat Your Words series, she cooks up recipes drawn from the works of various writers. I have unusually clear memories of early childhood, including one about the bright-white lines of a tennis court when I could only just crawl and one about learning to walk. I can recall being so small that the lower confines of the kitchen assumed the grand scale of a castle, the floor textural and crumb-scattered; its landmarks included a drawer of copper jelly molds and another of potatoes with hairy black eyes. As an older child, I had seemingly endless Big Wheel range of our suburban neighborhood, and my memories are of the rooms created by the undersides of shrubbery, of my painstaking collection of wet stones (which all dried disappointingly gray), of the delicate plant “surgeries” I performed on beds of glistening aloe. It seems impossible, but I recall that my thoughts at this age were mostly metaphysical; I would hide along the foundations of our house imagining infinity or seeing how many steps of “I’m thinking about thinking about thinking … ” I could grasp. Someone had told me that children forgot early childhood, so I swung in our hammock and tried to imprint the feeling of its abrasive fibers on my skin, for recollection when I got old. Nothing has ever returned me to that childhood feeling like the work of Bruno Schulz (1892–1942), a Polish Jew born in the Austro-Hungarian Empire who lived his entire life in the provincial village of Drohobych (now part of Ukraine). Schulz was a funny little man, poor and unassuming, who taught art in a boys’ school and privately made semierotic drawings of cruel ladies in high-heeled shoes. His literary output was minuscule—two books of short stories in nine years—and his life was tragically cut short by the Holocaust. A devoted biographer, the Polish poet Jerzy Ficowski, may have saved him from obscurity, and admirers such as John Updike and Philip Roth helped introduce Schulz’s work to the West. The admiration could not be more deserved. Schulz is inimitable in both his prose and his metaphysics. (A note on the prose—it’s so spectacular it’s almost untranslatable, and having read two translations side by side, I much prefer the older Celina Wieniewska to the newer Madeline Levine.) His stories create what Ficowski calls a “Schulzian mythologic,” where the events of the writer’s life, the people and houses and town around him, the surrounding countryside, the sky, the sun, the groceries from the market, a friend’s stamp collection or the Emperor Franz Josef—all of it lifts off like a Chagall painting, is impregnated with new language and unmoored from time. What’s revealed is not a flight of fancy but the indwelling qualities of everything. Read More
July 18, 2019 Poetry Rx Poetry Rx: Forgive Me, Open Wounds By Sarah Kay In our column Poetry Rx, readers write in with a specific emotion, and our resident poets—Sarah Kay, Kaveh Akbar, and Claire Schwartz—take turns prescribing the perfect poems to match. This week, Sarah Kay is on the line. © Ellis Rosen Dear Poets, I am writing to you for some clarity or company. At thirty, I have found myself in some kind of threshold state. I’m grappling with the tragic loss of a person I loved, mourning a future that got lost in the past, and also celebrating the births of so many of my peers’ new babies. I have been at the hospital witnessing—or on the other side of the phone hearing about—these big ends and big beginnings. I feel like I’m spinning: a compass who doesn’t know whether to point toward the exits or the entrances. Are the exits and entrances are the same? Babies come out of the holes in our bodies, surgical or anatomical, and loss feels the same way: I feel like she was torn from my body somehow, leaving an emptiness, a wound. I guess I don’t really have a question, except to say, does this seem familiar to you? Are you spinning, too? Thank you, Caught in A twirl Dear Caught in A Twirl, So much of your letter does indeed sound familiar. During a bout of despair I once asked my mother whether growing older was just one wound piled upon another until we are just a collection of hurt, and she answered, unironically, “No, sometimes someone gets married or has a baby!” At the time I probably rolled my eyes or laughed at her stubborn optimism, but I have since grown to take her answer quite genuinely. My best friends are also having babies or getting married, big beginnings I am grateful to witness. And at thirty we are both already starting to encounter some big endings, too. I am very sorry for your loss. I want to share with you Robin Beth Schaer’s poem “Holdfast” which begins, Read More
July 18, 2019 Conspiracy How Stanley Kubrick Staged the Moon Landing By Rich Cohen In his new monthly column, Conspiracy, Rich Cohen gets to the bottom of it all. 2001: A Space Odyssey Have you ever met a person who’s been on the moon? There are only four of them left. Within a decade or so, the last will be dead and that astonishing feat will pass from living memory into history, which, sooner or later, is always questioned and turned into fable. It will not be exactly like the moment the last conquistador died, but will lean in that direction. The story of the moon landing will become a little harder to believe. I’ve met three of the twelve men who walked on the moon. They had one important thing in common when I looked into their eyes: they were all bonkers. Buzz Aldrin, who was the second off the ladder during the first landing on July 20, 1969, almost exactly fifty years ago—he must have stared with envy at Neil Armstrong’s crinkly space-suit ass all the way down—has run hot from the moment he returned to earth. When questioned about the reality of the landing—he was asked to swear to it on a Bible—he slugged the questioner. When I sat down with Edgar Mitchell, who made his landing in the winter of 1971, he had that same look in his eyes. I asked about the space program, but he talked only about UFOs. He said he’d been wrapped in a warm consciousness his entire time in space. Many astronauts came back with a belief in alien life. Maybe it was simply the truth: maybe they had been touched by something. Or maybe the experience of going to the moon—standing and walking and driving that buggy and hitting that weightless golf ball—would make anyone crazy. It’s a radical shift in perspective, to see the earth from the outside, fragile and small, a rock in a sea of nothing. It wasn’t just the astronauts: everyone who saw the images and watched the broadcast got a little dizzy. July 20 1969, 3:17 P.M. E.S.T. The moment is an unacknowledged hinge in human history, unacknowledged because it seemed to lead nowhere. Where are the moon hotels and moon amusement parks and moon shuttles we grew up expecting? But it did lead to something: a new kind of mind. It’s not the birth of the space age we should be acknowledging on this fiftieth anniversary, but the birth of the paranoia that defines us. Because a man on the moon was too fantastic to accept, some people just didn’t accept it, or deal with its implications—that sea of darkness. Instead, they tried to prove it never happened, convince themselves it had all been faked. Having learned the habit of conspiracy spotting, these same people came to question everything else, too. History itself began to read like a fraud, a book filled with lies. To understand America, you can start with Apollo 11 and all that is counterfactual that’s grown around it; that’s when the culture of conspiracy, which is the culture of Donald Trump and fake news, was born. Read More
July 17, 2019 Arts & Culture Crying in the Library By Shannon Reed Still from Mary Pickford’s 1911 film Their First Misunderstanding. I’m a crier by nature, but as I have aged, my reasons for tearing up have become more elusive, even to me. Where once I could predict a crying spell, like spotting an East Texas thunderstorm moving across the landscape, now they arrive fast and sharp, like hail in New England on a March day. More and more frequently, I find myself wiping away tears while asking with plaintive frustration, “Wait, why am I crying right now?” I had one of those spells this morning while I holding a very old book in the rare books room of the Health Sciences Library at the University of Pittsburgh. Our group of visiting scholars had been warned not to lick or cough or sneeze on the old books, a warning that I had impressed on my soul, as I do with all advice from all librarians. Thus, the arrival of unexpected tears—one moment I was paging carefully through the book, scanning, not terribly attentive, the next I was sobbing—mostly triggered my consternation at producing forbidden fluid. “I didn’t know I was going to cry!” I wanted to yell, as I grabbed a tissue from the librarian’s desk, keeping my face averted from anything old. “I did not deliberately get bodily fluids on your books!” Of course, no one was paying me the least bit of attention, intent as they all were on their own research in their own old books. The librarian didn’t notice me either, thankfully, as she passed around cloth gloves to scholars who wanted to touch very, very old books. So I wiped away my tears, resanitized my hands, and went back to the book I had been looking at to figure out what had made me cry. Read More