November 2, 2017 On Books On Unread Books By Umberto Eco Science Library of Upper Lusatia in Görlitz, Germany. Photo: Ralf Roletschek I recall, though my recollection may be faulty, a magnificent article by Giorgio Manganelli explaining how a sophisticated reader can know whether a book is worth reading even before he opens it. He wasn’t referring to the capacity often required of a professional reader, or a keen and discerning reader, to judge from an opening line, from two pages glanced at random, from the index, or often from the bibliography, whether or not a book is worth reading. This, I say, is simply experience. No, Manganelli was talking about a kind of illumination, a gift that he was evidently and paradoxically claiming to have. How to Talk About Books You Haven’t Read, by Pierre Bayard, a psychoanalyst and professor of literature, is not about how you might know not to read a book but how you can happily talk about a book you haven’t read, even to your students, even when it’s a book of extraordinary importance. His calculation is scientific. Good libraries hold several millions of books: even if we read a book a day, we would read only 365 a year, around 3,600 in ten years, and between the ages of ten and eighty we’ll have read only 25,200. A trifle. On the other hand, any Italian who’s had a good secondary education knows perfectly well that they can participate in a discussion, let’s say, on Matteo Bandello, Francesco Guicciardini, Matteo Boiardo, on the tragedies of Vittorio Alfieri, or on Ippolito Nievo’s Confessions of an Italian, knowing only the name and something about the critical context, but without ever having read a word. Read More
November 2, 2017 Arts & Culture The Unchanging, Ever-Changing Earth Room By Kyle Chayka Walter De Maria, The New York Earth Room, 1977. © The Estate of Walter De Maria. Photo: John Cliett On SoHo’s cobblestoned Wooster Street, tucked above North Face and Lululemon boutiques stocked with neon athleisure, there is an otherwise empty, white, second-floor thirty-six-hundred-square-foot loft filled with 140 tons of dirt. It’s open to visitors from Wednesday through Sunday, noon to six P.M. The surreal aspect of its very existence is undercut somewhat by the normalcy of public access and consistent hours, as if it were a store selling nothing. Walking up the stairs and into the space on a recent late morning, I was first struck by the sensation of hush. It was not just the quieting of the sounds from the street but an enveloping cocoon of warmth and musty scent, like a field after summer rain. Around the corner, a raked expanse of soil two feet deep filled the loft from edge to edge, occupying what might otherwise be a bedroom and rising up to meet wide exterior windows. This is The New York Earth Room, an installation by the New York–based artist and musician Walter De Maria, who died in 2013. De Maria was part of the 1970s Land Art movement that included such compatriots as Robert Smithson, of Spiral Jetty fame, and Michael Heizer, whose City is an enormous monument complex in the Nevada desert still under construction. Their work deals with massive scales, both in time and space. In October 1977, the German art dealer Heiner Friedrich hosted The Earth Room as an exhibition at his gallery, which then occupied the Wooster Street space, where the dealer also lived in a front apartment. The installation was meant to last for three months, but it never left, and in 1980, Friedrich helped found the Dia Foundation, an art organization that has pledged to preserve De Maria’s work in (more or less) perpetuity. This year marks the fortieth anniversary of The Earth Room’s quiet persistence, which Dia is marking with commemorative events and ongoing exhibitions of De Maria’s work. Read More
November 2, 2017 Life Sentence The Laws of Simple Sentences By Jeff Dolven In our new eight-part series, Life Sentence, the literary critic Jeff Dolven will take apart and put back together one beloved or bedeviling sentence every week. Tom Toro will illustrate each sentence Dolven chooses. Read earlier installments of Life Sentence here. Image © Tom Toro A sentence has to be complete to be a sentence. It also has to be correct. “The trees wave.” That will certainly do: it has a subject and a predicate, a simple arrangement and a simple image. The grammarians’ demand for formal completeness dates back only to the middle of the seventeenth century, and so it is much younger than the ancient idea of a complete thought. The syntactic pattern underneath is older than both, and most linguists today take it to be the activation of a language faculty that has evolved over tens of thousands of years. That there is a law in this sentence, wherever it lies, is apparent any time we try to break it. “The trees”: is that a sentence? No. We are left hanging, wondering what the trees are or do or suffer. How about “Wave”? No, if it is supposed to be an indicative verb, what the trees do. (Yes, however, if it is an imperative, predicate to the implied subject “you.” No again, if it is a noun.) Read More
November 1, 2017 Novemberance On the First of November, the Ghosts Arrive By Nina MacLaughlin This is the first installment of Nina MacLaughlin’s Novemberance column, which will run every Wednesday this month. All Saints’ Day in Stockholm November is a hinge in the year, and the door gets opened to ghosts. It was a late fall weekend some years ago and lunch had gone long. A Spanish tortilla sat in the center of the table like a golden sun eclipsed as slices were put onto plates. A fire, lit that morning, threw heat from the other room. There was wine, maybe more than usual. Conversation rolled. After the meal, by the fire, the sun well into its descent, time moved at a different pace, a slower throb in the cheek-warmed flush from the wine, in the dimming light and hearth-warmed room. The fire glowed and spit, released its quiet hiss, and made that quieter high hum: the sound of the tree not in pain but in shift from one state to another. “Do you believe in ghosts?” I asked the man who stood by the fire. He came from the rainy, witchy gloom of Galicia in northwest Spain, a place in climate and culture closer to the bagpipe-y mists of the British Isles than to, say, the thumping island atmosphere of Ibiza. He was narrow framed, wiry, with a coiled sort of energy, and gray-black hair in his rich, thick mustache. He had heat behind his eyes and there are few people I’d rather have a conversation with. He was somewhere over seventy, though his blazing vitality belied it. Read More
November 1, 2017 Our Correspondents Goodbye to the Gem Room By Sadie Stein The Hall of Gems after its 1976 opening. © AMNH Library Many years ago, I brought an old boyfriend to the Hall of Gems and Minerals at the Natural History Museum. I’d told him all about it: how many hours of my childhood had been spent roaming the dun-carpeted halls under the flourescent lights, gazing at the geode cave and the rainbow of precious stones; occasionally sliding down that one irresistible slanted slab of petrified wood when the guard’s back was turned. I’d told him about how my best friend, Elaine, and I would beg to visit the dark little screening room where they showed a film called Forever Gold on a ten-minute loop, and how we’d watch it over and over and over, shrieking with laughter and shouting along with the dialogue. I’m not sure why I loved the gem room. I never much cared about science, and jewelry has always left me cold. And yet, it felt like the friendliest and most reassuring place in the world. And that film! Years later, I could still remember the triumphant cries of the prospectors, and the bits of 1980s footage in which a scientist in a short-sleeved button-down demonstrated the incredible tensility of a sheet of gold leaf. At one point a reenactor, playing a Medieval merchant, bit down on a gold coin; this started us on several weeks of hilarious and unhygienic coin biting. The narrator—whom I would later realize was George Plimpton—explains at one point that if all the gold ever mined were made into a cube, a football game could still be played around it. This is still the one salient fact I know about football. Read More
November 1, 2017 Arts & Culture The Podcasting Way of Death By Sylvie McNamara The futuristic Aeternal hearse, designed by Abhishek Roy. I discovered funeral-industry trade podcasts during a dark night of the soul. I’m allergic to wine, but I’d been drinking it anyway, and as I lay in bed feeling my heart thrash and my sinuses cloud, I contemplated the fact that I now have a circulatory system but someday won’t. This is a fixation of mine that arises with inexplicable and alarming frequency—I’m twenty-five and healthy; I haven’t experienced tremendous loss. My abstract anxieties about death tend to coalesce around my most concrete repulsion: embalming. That night, in a desperate ploy to overwhelm the circuitry of my fear, I searched for a podcast that would explain the process with clinical precision. That’s how I stumbled across the embalming episode of Deathcast, in which the former body remover Kelsey Eriksson describes draining the body of blood and pumping it full of preservatives. Her voice was lilting and reedy, the sugary pitch of Kristen Bell narrating Gossip Girl, which did not make her description of my grisliest nightmares easier to swallow. In fact, as I learned about “eye caps”—thick, barbed contacts that close eyelids and lend shape to postmortem shrunken eyeballs—my dread clotted into a neurotic fixation. I downloaded podcast after podcast of “death professionals” trading industry tips, promoting hair-raising products and telling one another stories of the trade that are as startling and macabre as urban legends. Read More