August 27, 2024 Letters Letters from Shirley Hazzard and Donald Keene By Shirley Hazzard and Donald Keene Izu Peninsula from Mount Echizen. Photograph by Alpsdake, via Wikimedia Commons. Licensed under CC BY-SA 3.0. Usami, Izu Peninsula November 26, 1980 Dear Shirley and Francis, My thoughts have been very much with you as more and more reports come in about the earthquake in southern Italy. Of course, I know that you are not there, and that is a relief, but I’m sure you must have friends in the vicinity, and (though the reports in the Japanese press have not mentioned Capri) your house may also have been damaged. I hope that the tragedy, unspeakable as it is, has at least not directly affected you. I am writing from my room in a building overlooking the sea. It is dusk and the mountains are dark against the bluish-gray sky. It is one of the loveliest places in Japan I know and I have bought a tiny apartment on the ninth floor of a building recently erected on one of the hills overlooking the bay. Today has been clearer than I have ever seen it here. The islands that are normally concealed by mist, sea-spray or whatever it may be, are clearly visible even now. But there is a terrible irony in all this: Japanese seismologists have predicted that the next major earthquake in Japan will be here. Read More
August 23, 2024 The Review’s Review Another Life: On Yoko Ono By Cynthia Zarin Yoko Ono, Half-A-Room, from Half-A-Wind Show, Lisson Gallery, London, 1967. Photograph by Clay Perry, courtesy of Tate Modern and Yoko Ono. Recently, I found myself at the Tate Modern in London, accompanied by my youngest daughter, to see Music of the Mind, a retrospective of the work of Yoko Ono: her drawings, postcards, films, and musical scores. Accompanied is perhaps too easy a word. When told my daughter I wanted to go, she said, “Really?” “Yes,” I said. “Really.” Read More
August 22, 2024 Dispatch Death Is Very Close: A Champagne Reception for Philippe Petit By Patrick McGraw Photograph by Sean Zanni/PMC. There was an air of subdued anticipation at the Cathedral of Saint John the Divine as we waited for Philippe Petit to take the stage. A clarinetist roved through the church improvising variations on Gershwin in spurts, making it hard to tell if the event, which was being held to commemorate the fiftieth anniversary of Petit’s walk between the Twin Towers, had begun. Eventually, the lights dimmed and we were told to turn off our phones, as even a single lit screen in the audience might cause Petit to fall from his tightrope. Music started, but so quietly that it seemed like it was being played from a phone, while a candlelit procession made its way down the nave. Large boards were set up, on which footage of the Twin Towers being constructed was projected. A group of child dancers imitated Petit’s walk along the ground, and were followed by a professional whistler. After we were shuffled through this sequence that felt like a performed version of ADHD, Petit finally appeared and began walking, first meekly, then quickly, to Satie’s “Gymnopédie No. 1,” wearing a white jacket laced with gold. The original Twin Towers walk took place on the morning of August 7, 1974, after Petit and a group of conspirators broke into the World Trade Center while it was still partially under construction, and used a bow and arrow to span a tightrope between the towers. Petit walked, ran, lay down, and knelt on the wire, a quarter of a mile in the air, as the city looked on from below. It had taken more than eight months of meticulous planning to carry out the performance, including creating a mock-up of the distance between the Towers on a field in France, studying their engineering, and using various disguises and fake IDs to gain access to them. These heist-like aspects (it is referred to as “the coup”) have made it ripe material for movies including Man on Wire and The Walk, starring Joseph Gordon-Levitt as Petit and featuring CGI Twin Towers. Read More
August 21, 2024 Letters Hearing from Helen Vendler By Christopher Bollas Helen Vendler in her home in Cambridge. Photograph by Stephanie Mitchell. Earlier this year, the visionary poetry critic Helen Vendler died at the age of ninety. After her death, the writer and psychoanalyst Christopher Bollas—author of The Shadow of the Object, Cracking Up, and Meaning and Melancholia, among many others—collected a correspondence between himself and Vendler that unfolded over email during the last two years of her life, which began as Vendler was clearing out her office at Harvard in 2022. These emails, which have been selected and edited by the Review (with spelling and punctuation left unchanged), touch on the relationship between psychoanalysis and poetry; the experience of aging in all its forms; and the growth of a friendship, and understanding, between Bollas and Vendler. January 22, 2022 Dear Christopher Bollas, A friend of a friend quoted, in an email, your generous notion that what I do as a critic of poetry has a resemblance to the work of analysis. I take that as an amazing compliment. I don’t know where you said that, but I did see that one of the steps in your career was a PhD in English at an exciting time at the U. of Buffalo, and that you’ve written a series of books with intriguing titles, which (“now that I am old and ill”—Yeats) I may not get to immediately, but hope to see a couple of them once I finish the interminable task of clearing my office (now that we once again have access after the Covid ban). Yours truly, Helen Vendler Read More
August 20, 2024 First Person Self-Portrait in the Studio By Giorgio Agamben All images courtesy of the author. A form of life that keeps itself in relation to a poetic practice, however that might be, is always in the studio, always in its studio. Its—but in what way do that place and practice belong to it? Isn’t the opposite true—that this form of life is at the mercy of its studio? *** In the mess of papers and books, open or piled upon one another, in the disordered scene of brushes and paints, canvases leaning against the wall, the studio preserves the rough drafts of creation; it records the traces of the arduous process leading from potentiality to act, from the hand that writes to the written page, from the palette to the painting. The studio is the image of potentiality—of the writer’s potentiality to write, of the painter’s or sculptor’s potentiality to paint or sculpt. Attempting to describe one’s own studio thus means attempting to describe the modes and forms of one’s own potentiality—a task that is, at least on first glance, impossible. *** How does one have a potentiality? One cannot have a potentiality; one can only inhabit it. Read More
August 16, 2024 The Review’s Review On Asturias’s Men of Maize By Héctor Tobar Asturias, ca. 1925. Public domain, via Wikimedia Commons. For millions of people in the Americas, our Indigenous heritage is something tinged with mystery. We look into a mirror and believe we see the Mayan, the Aztec, or the Apache in our faces. The hint of a high cheekbone; the very loud and obvious statement of our cinnamon or copper skin. We sense a native great-great-grandparent in our squat or long torsos, in the shape of our eyes, in our gait, and in the emotions and the spirits that drift over us at times of joy and loss. But the particulars of our Indigeneity, the weighty and grounded facts of it, have been erased from our history. In my Guatemalan-immigrant childhood, the great Mayan jungle city of Tikal was a symbol of the civilization in our blood. Despite the humility of our present in seventies Los Angeles—my mother was a store cashier, my father a parking-lot valet—we were once an empire. My father suggested that a personal, familial greatness was there in our Mayan heritage, waiting to reawaken. I could not trace who my Mayan forebears were, exactly. But I knew the Maya were in me because I was a guatemalteco; or, in the hyphenated ethnic nomenclature of the time, a “Guatemalan-American.” Only now do I realize how deeply fraught the idea of being “Guatemalan” truly is. “Guatemala” is a way of glossing over the cultural collisions and the racial violence that produced a country centered in the mountain jungles and river valleys where Mayan peoples ruled themselves until Europeans came. Read More