February 5, 2018 Arts & Culture A DACA Poet Speaks Out By Tara Wanda Merrigan Marcello Hernandez Castillo On any given day, the county jail in Marysville, California, holds about 170 immigrant detainees awaiting hearings. Because Immigration and Customs Enforcement does not have an office nearby, the inmates will be shown via Televideo to one of the three judges of San Francisco’s immigration court. After their hearings, 90 percent of those inmates will be put on a green bus and taken to an ICE detention center for deportation. The Marysville jail is just one of the nearly two hundred jails where ICE held contracts last year. It also happens to be just a few blocks away from the home of Marcelo Hernandez Castillo, a DACA recipient and poet who recently moved back to Marysville to be near his mother. Castillo’s debut poetry collection, Cenzontle, will be published in April. It has been nearly four years since Castillo became a legal resident, after marrying his longtime girlfriend. But when the Department of Homeland Security bus rolls up to the jail on Friday mornings, Castillo feels a familiar paranoia. “Some people think the border just exists along the southern part of the United States, but it’s like a panopticon,” Castillo says. “Their omnipresence—that ICE can be anywhere—is what most attacks the psyche of undocumented people.” Read More
February 5, 2018 Arts & Culture Death and Feminism in a Nutshell By Nicole Cooley Frances Lee Glessner, Kitchen (room from afar). From The Nutshell Studies of Unexplained Death. Photo by Corinne May Botz. (Courtesy of Benrubi Gallery and Monacelli Press.) Homicide. Suicide by hanging. A great deal of drinking, mainly of whiskey, mainly by men. Blood pooled on the floor. Chairs overturned. Many weapons: guns and knives and ropes. Burned Cabin, where a burned skeleton is barely visible, Dark Bathroom, which contains a dead woman in a bathtub beside an empty liquor bottle, and Unpapered Bedroom, in a boarding house where an unknown woman has been found dead. In Frances Glessner Lee’s dioramas, the world is harsh and dark and dangerous to women. “The Nutshell Studies of Unexplained Death,” her series of nineteen models from the fifties, are all crime scenes. Glessner Lee built the dioramas, she said, “to convict the guilty, clear the innocent, and find the truth in a nutshell.” Read More
February 2, 2018 This Week’s Reading Staff Picks: Phillips, February, and Fake News By The Paris Review A banner depicting Joice Heth, by the artist Mark Copeland. When a review copy of Kevin Young’s Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News landed on my desk, I turned to Nadja and said, This book is going to win the Pulitzer Prize. Bunk is a barefisted reckoning with American culture, an extension of sorts of Young’s whip-smart book-length essay The Grey Album that coils, swerves, and diverts out at right angles from itself. It begins with a seemingly benign look at Joice Heth, a black woman whom P. T. Barnum added to his sideshow and claimed to be the 161-year-old nursing maid of George Washington. The question is, Was Heth in on it? Was she paid for this? And even if she was, was Barnum’s humbug—something designed to deceive and mislead—essentially a co-opting of black pain and suffering? How does that change when we discover that Barnum actually bought her from another showman? Young’s inquiry spins out from there and looks at the outrageous headlines of nineteenth-century penny papers, fake memoirs, false reporting, and the unmistakable Americanness of the hoax—which is essentially a performance, one the viewer willfully participates in, as disingenuous as it is. Young is a pure essayist in the vein of Emerson and Montaigne. Reading Young, you feel like you’re making connections along with him, and it’s exciting, at times flabbergasting, to peel back the layers of the American psyche together. Bunk was long-listed for the National Book Award for Nonfiction and is a finalist for the National Book Critics Circle Award for Criticism. I stand by my prediction of Young’s Pulitzer, and am taking bets. —Jeffery Gleaves Read More
February 2, 2018 On Sports Don DeLillo’s Nuclear Football By Daniel Roberts American football had a violent year in 2017. The refusal by all thirty-two National Football League teams to sign free agent Colin Kaepernick, a black quarterback who had started kneeling during each game’s national anthem in the summer of 2016 as a form of protest against police brutality, ignited a national political debate that often devolved into ugly racial vitriol. After additional players began kneeling to take up Kaepernick’s cause in his absence, President Donald Trump made the NFL a target of repeated angry tweets, railing that the protesting players were disrespecting the whole country and condemning NFL team owners for not punishing the players. The sad apotheosis of all this noise came when Trump, in his first State of the Union address, appeared to make reference to Kaepernick and other kneeling players when he said that a twelve-year-old boy’s organized effort to lay flags at the graves of veterans “reminds us … why we proudly stand for the national anthem.” As the violent rhetoric spread on social media throughout the season, the NFL saw its prime-time television ratings drop precipitously. It’s unclear how much of the problem was political; people who say they watched less football in 2017 cited a whole host of additional complaints: too many games, bad games, unfair games, too many ways to watch a game on something other than television, too many things to watch besides football. Read More
February 2, 2018 Document James Joyce’s Love Letters to His “Dirty Little Fuckbird” By Nadja Spiegelman James Joyce by Alex Ehrenzweig, 1915. On Nassau Street in Dublin, on June 10, 1904, twenty-two-year-old James Joyce saw (as clearly as he could see, since he was not wearing his glasses, and his vision was poor) the twenty-year-old Nora Barnacle, then a young chambermaid, sauntering by. Nora would later tell the story of their first meeting often, though she often told it differently. Sometimes she said Joyce wore a sailor’s cap, and other times she said he wore a big white sombrero and a long overcoat that hung down to his feet. Joyce proposed a date, and Barnacle agreed, but though Joyce went to the appointed place at the appointed time, she never showed. He wrote to her, “I may be blind. I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me—if you have not forgotten me!” A few days later, on what was likely June 16, 1904—the date on which Joyce would later set Ulysses—they had their first proper date, though it was far from proper. Joyce took Barnacle east, past the docks and the harbor, to the deserted area of Dublin known as Ringswald. There, to Joyce’s surprise and gratitude, Barnacle slipped her hand down his trousers and “made me a man.” By October, the couple had eloped to Zurich. Although the couple did not officially marry until 1931, their unconventional relationship was passionate till the end. The letters below were written when Joyce returned to Dublin alone for the first time, in 1909, in an attempt to get Dubliners published. They are delightfully, shockingly dirty. Read in full, they are also quite charming. In the absent spaces, we can hear Nora’s enthusiastic, just-as-naughty replies, and the longing of a man who wants nothing more than to be home. This correspondence was first published in 1975 in the Selected Letters of James Joyce, now out of print. These letters, or excerpts of them, have been floating around the Internet for some time now, but they merit multiple joyous re-readings. Happy birthday, James Joyce. May we all find a soul mate whose farts we would know anywhere. 3 December 1909: 44 Fontenoy Street, Dublin My darling little convent-girl, There is some star too near the earth for I am still in a fever-fit of animal desire. Today I stopped short often in the street with an exclamation whenever I thought of the letters I wrote you last night and the night before. They must read awful in the cold light of day. Perhaps their coarseness has disgusted you. I know you are a much finer nature than your extraordinary lover and though it was you yourself, you hot little girl, who first wrote to me saying that you were longing to be fucked by me yet I suppose the wild filth and obscenity of my reply went beyond all bounds of modesty. When I got your express letter this morning and saw how careful you are of your worthless Jim I felt ashamed of what I had written. Yet now, night, secret sinful night, has come down again on the world and I am alone again writing to you and your letter is again folded before me on the table. Do not ask me to go to bed, dear. Let me write to you, dear. Read More
February 2, 2018 Eat Your Words Cooking with Naguib Mahfouz By Valerie Stivers In Valerie Stivers’s Eat Your Words series, she cooks up recipes drawn from the works of various writers. The West has a long-held obsession with the roles of women in Muslim societies. The Cairo Trilogy, by Naguib Mahfouz (1911–2006), captures the complexity from within. Mahfouz is the only Arab writer to have won a Nobel Prize in Literature, and these three works, Palace Walk, Palace of Desire, and Sugar Street, published in the fifties, were the first modern books originally written in Arabic to be included in the Everyman’s Library. They trace the fate of an Egyptian family in World War I—when the country was still a member of the British Empire, awash with Australian soldiers, but covertly hoping for a German victory—through World War II, when the political situation started to repeat itself. The people at the heart of the book are Mr. Ahmad Abd al-Jawad, a Cairo shop owner who is “wealthy, strong and handsome,” a tyrant and a patriarch as befit the virtues of his time, and his wife, Amina, a woman who was married to him at fourteen and shut up in her house ever since. She embodies the feminine ideals of obedience, submission, serenity, and religious faith. Of her, Mahfouz writes, “Whenever she thought back over her life, only goodness and happiness came to mind. Fears and sorrows seemed meaningless ghosts to her, worth nothing more than a smile of pity.” Amina has “beautiful small eyes” and a “sweet, dreamy look” and does her housework with “pleasure and delight” and “incessant perseverance and energy.” The family’s downfall—and also Egypt’s, Mahfouz implies—is the structural weakness of these roles. Amina’s lack of education and judgment and Ahmad’s harshness and self-indulgence wreak tragic consequences for the next generation. Read More