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
February 1, 2018 Arts & Culture The Art of Unpacking a Library By Alberto Manguel The home library of William Randolph Hearst. I would argue that public libraries, holding both virtual and material texts, are an essential instrument to counter loneliness. I would defend their place as society’s memory and experience. I would say that without public libraries, and without a conscious understanding of their role, a society of the written word is doomed to oblivion. I realize how petty, how egotistical it seems, this longing to own the books I borrow. I believe that theft is reprehensible, and yet countless times I’ve had to dredge up all the moral stamina I could find not to pocket a desired volume. Polonius echoed my thoughts precisely when he told his son, “Neither a borrower nor a lender be.” My own library carried this reminder clearly posted. I love public libraries, and they are the first places I visit whenever I’m in a city I don’t know. But I can work happily only in my own private library, with my own books—or, rather, with the books I know to be mine. Maybe there’s a certain ancient fidelity in this, a sort of curmudgeonly domesticity, a more conservative trait in my nature than my anarchic youth would have ever admitted. My library was my tortoise shell. Read More
February 1, 2018 In Memoriam Raising a Glass to Fred Bass, the Strand’s Iconic Owner By Brian Ransom Fred Bass with an oil painting of himself painted by artist Max Ferguson. This past Friday, a hundred or so people milled about the second floor of the Strand sipping wine, picking at cheese platters, and talking about death. A celebration of the life of Strand Book Store owner Fred Bass, who passed away earlier this month at eighty-nine, was scheduled to begin in a few moments, but the death on everyone’s lips was not Fred’s. Instead, the chatter concerned the loss of two other New York City staples: the Lower East Side movie theater Landmark Sunshine Cinema had closed that past Sunday, and farther uptown, Lincoln Plaza Cinema was slated to shutter at the end of the month. That the Strand is still standing seems almost a miracle. It has endured nine decades of metropolitan metamorphosis and been passed down through three generations of Bass owners. Of its peers on Book Row—a cutesy nickname for the cluster of used bookstores along Fourth Avenue in the twentieth century—the Strand is the lone survivor. Perhaps one element of its longevity was Fred himself, the tireless figurehead, who one employee described as “not just the Strand’s brain but also its heart and soul.” Photos of Fred topped the display tables. Some of them showed him bouncing a kid on his knee, or grinning with his arm around a fellow soldier during his two-year stint in the army, but many depicted him hard at work. Fred got his start at the Strand at thirteen years old, sweeping the floors of what was then his father’s store. Nancy Bass Wyden, Fred’s daughter and successor, told me later that her father had usually worked ten hours a day, six days a week, for most of his life. “I want to stop,” he would say with a wink, “but my daughter will not fire me.” Legend has it that Fred was buried at sea in a vintage red Strand sweatshirt. Read More
February 1, 2018 Arts & Culture A Darker Canvas: Tattoos and the Black Body By Bryan Washington One time in New Orleans, during an annual music festival organized by Essence magazine, a lady flagged me down from her car. I was walking through the French Quarter. The air was sufficiently drenched. In a neighborhood that has been steadily losing black folks, the block was suddenly full of us—glowing in bright clothes, and laughing entirely too loud. But this woman was pretty pissed. When I reached her window, she gave me another nod. She squinted at my tattoos, and asked where the nearest parlor was. “But one for us,” she said. “I’ve already been to four today.” I pointed her to a guy I knew, up the road and around the corner. When she asked if he was black, I winced, because he was not. “He’s good though,” I said. “I mean it. He’s done me twice.” The lady looked deeply skeptical. But then she said, “Okay.” “Listen,” she continued. “I don’t know about that. But I’m going to trust you.” Read More
January 31, 2018 Look Gustav Klimt and Egon Schiele in Conversation By Katie Hanson Left: detail from Two Studies for a Skeleton by Gustave Klimt; Right: detail from The Pacer by Egon Schiele The year 2018 marks the centenary of the deaths of the Austrian artists Gustav Klimt (born in 1862) and Egon Schiele (born in 1890). Even after a hundred years, their drawings have a compelling immediacy, a sense of energy and presence, of searching and questioning, that still feels fresh. Both artists welcomed deep engagement with their art, a kind of looking that encompassed feeling and seeking. Klimt was nearly thirty years Schiele’s senior, and the younger artist looked up to him, but their admiration and recognition of artistic skill were mutual. When Schiele asked Klimt if he was talented, Klimt replied, “Talented? Much too much.” Schiele proposed an exchange of drawings, offering several of his own sheets for one by Klimt, to which Klimt responded, “Why do you want to exchange with me? You draw better than I do.” Schiele was proud when his work was exhibited opposite Klimt’s in Berlin in 1916. Just a couple years later, upon Klimt’s death, Schiele wrote, “An unbelievably accomplished artist—a man of rare depth—his work a sanctuary.” Read More