December 14, 2016 On the Shelf Democracy Sausage, and Other News By Dan Piepenbring Wilhelm Trübner, Great Dane with Sausages, 1877. Shirley Hazzard has died at eighty-five: “Hazzard’s fiction is dense with meaning, subtle in implication and tense in plot, often with disaster looming: A shipwreck tears away the parents of tiny children. A man who has waited a lifetime for a woman loses her at the last moment. A disease slowly saps the life from a beloved brother … Her childhood in Australia was filled with reading—she said of poems that she ‘ate and drank them up as nourishment’—but also with family discord, alcoholism, mental illness (her mother’s), infidelity (her father’s) and ultimately the disintegration of her parents’ marriage. She recalled seeing maimed veterans of World War I still haunting Australia years later, and she had felt the effects of the Depression.” Speaking of Australia—their word of the year is democracy sausage. Yes: where the Oxford English Dictionary went for post-trust, our comrades in the Antipodes have opted for democracy sausage. Elle Hunt explains, “The barbecued snag, bought at a polling booth sausage sizzle on election day, beat out smashed avo and census fail to define the year, following a mammoth eight-week election campaign … Amanda Laugesen, the director of the [Australian National Dictionary Centre], said democracy sausage had first been recorded in 2012 but had risen to prominence in 2016. ‘There certainly seem to be plenty of terms—sausage sizzle itself is an Australianism, snag is an Australianism. We seem to be quite fond of our sausages here in Australia.’ ” Read More
December 13, 2016 Arts & Culture Poor Richard By Sarah Cowan Philip Guston’s drawings of Nixon have transcended their subject. Philip Guston, Untitled (Poor Richard), 1971, ink on paper, 10 1/2″ x 13 7/8″. “A lot of work after the election looks very different,” I overheard someone say in Hauser & Wirth as we followed the saga of Poor Richard, Philip Guston’s satirical drawings of Richard Nixon’s rise to power. The show had been installed on November 1 as a last minute idea; on opening night it drew an amused crowd of boomers and millennials, the distance in their experience bridged by the convincing sense of security many of us had that doomed week. When I returned to the show less than a month into the Trump transition, the drawings had turned on us: a joke at the expense of our smugness. Guston made most of the drawings in August 1971, in Woodstock, egged on by his friend Philip Roth, who had taken Nixon as the subject of his novel Our Gang. Just a month earlier, Nixon, who had built his political career as the wunderkind of the House Un-American Activities Committee, announced he was planning to visit China. Poor Richard and its preparatory sketches ride the arc of this hypocrisy, from Dick’s beginnings in California, where, lonely, poor, and studious, he dreams of the White House, crushing hammers and sickles in his path. He poses for photographs with his arm around the necessary demographics—hippies, blacks, “mom and pop” whites—bearing a grin betrayed by a hungry glare. Guston dresses him in a police uniform, a Ku Klux Klan hood, blackface, and, in the final panels, offensive Orientalist costumes as he sets sail confidently on his ill-fated “journey of peace.” Read More
December 13, 2016 Correspondence A Fresh Bag of Bananas By James Wright The poet James Wright was born on this day in 1927. In September 1975, he answered a fan letter with the story of how he’d cheered up a lonely poet (Bill Knott, no less) one Thanksgiving: with bananas. Lots of them. Read more of Wright’s correspondence in A Wild Perfection: The Selected Letters of James Wright. Poetry is a strange adventure; at crucial times it is—it has to be a search undertaken in absolute solitude. But when we emerge from the solitude, we so often find ourselves lost in loneliness—which is quite a different thing from solitude. America is so vast a country, and people who value the life of the spirit, and try their best to live such a life, certainly need times and places of uncluttered solitude all right. But after the journey into solitude—where so many funny and weird and sometimes startlingly beautiful things can happen, whether in language or—even more strangely—in the silences between words and even within words—we come out into crowds of people, and chances are that they also are desperately lonely. Sometimes it takes us years—years, years!—to convey to other lonely persons just what it was that we might have been blessed and lucky enough to discover in our solitude. Read More
December 13, 2016 On the Shelf Pretty Pain Pills, and Other News By Dan Piepenbring Photo: Peter Juzak, via Wired. The thing I do most with Tylenol pills is orally ingest them to relieve pain—that’s just my personal preference. There are other things you can do. You can make a necklace out of them, I guess. Or you can smash them and look at them under a microscope, which is what the photographer Peter Juzak does. And his work—which reveals the candy-colored paradise hiding inside every little nugget of acetaminophen—suggests that this is a good thing to do. Laura Mallonee writes, “He started shooting acetaminophen four years ago. He grinds each tablet and pours the powder on a slide, which he heats on a hot plate to melt so the acetaminophen crystalizes. It can take anywhere from a few hours to sometimes a week or more … A single slide can yield hundreds of images, each exploding with phantasmic colors in shapes that resemble splintered glass.” The seventeenth-century painter Artemisia Gentileschi is remembered, when she’s discussed at all, as a victim—she was raped by another painter, Agostino Tassi, and testified against him in a protracted trial, all of which has led scholars to see her work as a kind of revenge. But Sylvia Poggioli gives us another angle: “While she was testifying against her abuser, Artemisia’s fingers were subjected to sibille—metal rings that were increasingly tightened, a courtroom practice at the time to ensure the witness was telling the truth … Every word of the court case was transcribed, and Artemisia’s testimony under torture was brutally graphic, as she described every detail of the sexual assault. Tassi was found guilty, but he never served his sentence … Art historian [Judith] Mann, however, sees Artemisia more as a champion of strong women rather than a woman obsessed with violence and revenge. Mann points to a canvas painted the year after the rape trial, Judith and Her Maidservant. Here, the head of Holofernes lies in a basket, and Judith, with serene expression and sword resting on her shoulder, is portrayed proudly as victor. ‘That is not a characteristic Judith pose,’ says Mann. ‘That is something we expect of a male hero, so it is a very powerful representation; there is drama and she’s got it. It’s just a masterful treatment.’ ” Read More
December 12, 2016 Look Out in Left Field By Dan Piepenbring Nine paintings by Nicholas Krushenick are on display at Garth Greenan Gallery through January 7, 2017. Krushenick, who died in 1999, favored a bright, bold style, commingling pop art with abstract expressionism, minimalism, and any other number of -isms. He relished the chance to defy categorization: “They don’t know where to place me. Like I’m out in left field all by myself. And that’s just where I want to stay.” In 1965, he contributed to The Paris Review’s print series. Nicholas Krushenick, United Color Kit, 1967, acrylic on canvas, 50″ x 40″. Read More
December 12, 2016 On Music Quiet Fire By Adam Shatz On Frank Kimbrough’s album Solstice and the late Paul Bley. From the cover of Paul Bley’s Open, to Love. As a journalist, I have often had to explain to an English-speaking audience the rise of anti-Muslim, anti-immigrant prejudices in France. But on election night, I found myself in the temporary offices of the radio show France Culture in midtown Manhattan, explaining to a French audience the triumph of the same prejudices in my own country. Struck by (though far from relishing) this irony, I was reminded of a novel I’d reviewed for the London Review of Books last year, Michel Houellebecq’s dystopian Submission, in which a demoralized France elects an Islamist presidential candidate backed by the Gulf states. In the final pages, the hero, a pathetic white male academic named François, converts to Islam because he fears being deprived of a future in a country where darker-skinned worshippers of Allah have taken over. Our president-elect is a Muslim hater, not a Muslim, but he, too, was catapulted to power with help from influential friends abroad, and his millions of supporters were driven by related fears of finding themselves without a place in an increasingly multicultural society—victims of what the French fascist theorist Renaud Camus has called “the Great Replacement.” Read More