January 4, 2016 Bulletin Speaking Unprofessionally By The Paris Review Attention, procrastinators! This is your last chance to get a free copy of our new anthology of emerging writers, The Unprofessionals. Want to learn more? See below for a talk with our editor, Lorin Stein, and contributors Emma Cline, Kristin Dombek, Cathy Park Hong, Ben Nugent, and Jana Prikryl. Thanks to BookCourt for letting us tape their conversation. Read More
January 4, 2016 Our Daily Correspondent New Year By Sadie Stein A still from The Thief of Bagdad, 1940. One of the secrets of a happy life is continuous small treats. —Iris Murdoch The New Year comes as a relief: it’s like the morning after a good cry. You feel exhausted, yes, and hollowed out, but unburdened, too. What do you do? Well, you go back to work. You listen to music, return e-mails. Your calendar slowly fills, even though not so long ago January seemed like it would never come. “Happy New Year” is the one thing everyone can say to everyone else with confidence, and clearly we enjoy this, it’s a good way to begin a year, all together. Large things give way to small. There are friends, and there is kneading bread, and then there are the little shaded candleholders you picked up, supposedly discarded from a defunct restaurant in Central Park—and they do look pretty, even given the state of the world outside their little flames. Maybe you watch the movie about the narcissistic puppet or the ten-hour series about the miscarriage of justice in Wisconsin. Perhaps you KonMari your closets or take a month off drinking. Whatever you do, don’t panic. Read More
January 4, 2016 Look Resolutions By Jason Novak & Ron Padgett Jason Novak, whose drawings accompany Chris Bachelder’s The Throwback Special in our Winter issue, is working on an illustrated edition of Ron Padgett’s poem “How to Be Perfect.” The first ten lines are below. Read More
January 4, 2016 On the Shelf Beauty Does Not Exist Anywhere, and Other News By Dan Piepenbring Jean Dubuffet, Fête Villageoise, acrylic and collage on paper mounted on canvas, 8′ 2″ x 10′ 7-3/4″. For the painter and sculptor Jean Dubuffet, the most profound art was “art brut”—created from chaos and madness by the mentally ill. A new exhibition at the American Folk Art museum explores his ethos. Our managing editor, Nicole Rudick, explains: “Dubuffet advocated on behalf of art brut in famously eloquent pamphlets, speeches, and manifestos. In 1951, he gave a talk at the Art Institute of Chicago called ‘Anticultural Positions,’ which set out his antiformalist, expressive style and his dissatisfaction with Western conceptions of beauty. He rejected the notion that certain objects are more beautiful than others, advocating instead for the idea that ‘there is no ugly object nor ugly person in this world and that beauty does not exist anywhere, but that any object is able to become fascinating and illuminating.’ ” Today, literary blogs such as this one face competition from their fiercest adversary yet: Bill Gates. His blog, Gates Notes, features a thriving book reviews section—and Gates, unlike all those self-aggrandizing show-off critics you’ve grown accustomed to, endeavors “to fill his reviews with bits of information he hopes people will consider, even if they don’t end up reading the book. ‘I read textbooks related to global health but they are pretty technical for a general audience, so I generally don’t review them,’ he said … ‘I like to share what I learn from books like that because I know most people won’t read the whole thing but some will read an 800-word review of it.’” Conventional wisdom maintains that commercial fiction is vastly more sentimental than “serious” literary fiction—and that eschewing sentimentality is a good way to separate the wheat from the chaff. Academics have tested that notion using sentiment analysis, mapping the number of positive and negative words in literary novels: “There appears to be an assumption at work among the canon that reality is harsh and positivity distorts the truth … It’s not that emotions are absent from the most serious of serious literature. Rather, what is missing is a kind of explicit articulation of belief, what we might call, for lack of a better word, conviction. Over time we seem to institutionally value novels that downplay the clarity of their own beliefs. This makes a good deal of sense—novels that endure do so because they represent more open belief systems, ones that allow readers across broader stretches of time to engage with them and explore their own beliefs.” Free yourself from the tyranny of choice. Submit to the awesome power of fate. Visit this Tokyo bookstore, where only one title is for sale each week. (Right now it’s Masaru Tatsuki’s photo anthology Fish-Man.) “This bookstore that sells only one book could also be described as ‘a bookstore that organises an exhibition derived from a single book,’ ” says the proprietor, Yoshiyuki Morioka. “For instance, when selling a book on flowers, in the store could be exhibited a flower that actually appears in the book. Also, I ask the authors and editors to be at the bookstore for as much time as possible. This is an attempt to make the two-dimensional book into three-dimensional ambience and experience. I believe that the customers, or readers, should feel as though they are entering ‘inside a book.’ ” In 1939, when he was nine, the historian Gerhard Weinberg fled Germany to escape Hitler. Now Weinberg is eighty-seven and advocating for the first new German edition of Hitler’s Mein Kampf since 1945, along with its little-known sequel. “In 2003, Weinberg wrote, ‘Germany and the rest of the world have not yet come close to coming to terms with Hitler as a person, as leader of a great nation, and as a symbol.’ The publication history of his books seems to support Weinberg’s point. In 1961, publishers were afraid of Hitler’s second book. In 2013, the state of Bavaria showed that it was still afraid of his first. The lack of critical editions didn’t prevent readers from accessing Hitler’s ideas—instead, it prevented historians from shaping the way these books are remembered.”
January 1, 2016 Best of 2015 Seeking Jagger’s Muse By John Jeremiah Sullivan We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year! Mick Jagger in Clearwater, Florida, 1965. Dear Lorin, Did I ever tell you about the thing I did with The Ice Plant? You know them—they make oddly compelling photography books. Last year they did one about some candid “found photos” of the Rolling Stones, pictures taken in the South that had somehow turned up at a flea market or estate sale out west. I wrote a piece to go with the book. But the book wound up getting squashed, or at least suppressed. There was some kind of legal problem—a photographer’s estate claimed rights, saying their man had taken the pictures, but it couldn’t be proved, and there were other claimants. At one point the book was embargoed on a container ship, I’m not inventing. Anyway it was all a shame because the book was beautiful to look at and would have been positive for all parties, and The Ice Plant’s books are done for the love—if nobody’s profiting, nobody’s profiting off—but we are a people of the lawsuit, we like to own. All of that is background, though, to the actual pictures (referring here only to those that have already been on the Web). There’s something sweet and sad about them (a twenty-two-year-old Brian Jones flipping playfully into the pool … ), and something unglamorous that has postwar English childhoods in it, and at the edges maybe just a trace of eerie and autumnal pre–Altamont Apocalypse vibes. Read More >>
January 1, 2016 Best of 2015 Days of Wine and Curry By Rowan Ricardo Phillips We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year! Steph Curry goes Super Saiyan. Watching Steph Curry and the Golden State Warriors. When Nina Simone first sings the title of “Feeling Good,” her voice has been alone for thirty-nine seconds. The solitary singer: there’s always something fiat lux about it. Resolute, the individual moves through the void. You know the accompaniment is coming, but the voice, all by itself, makes you care about it: form turns into feeling. This is how the artist passes on her exuberance. You’re affected by her immediate present, implicated in her future, and interested in her past. This is how the strut between you two starts: “and I’m feeling good.” The instruments come to life right after Simone sings those words, as though her voice has just confirmed that the coast is clear—a new dawn, a new day, a new life—the brass begins with those gravel-and-booze notes down low, the piano like morning birdsong, light and constant, up top. The world is being made, and you feel good enough to sing as if you yourself were making it. And maybe you are: the experience heats up, the experience becomes porous, and you don’t know anymore where you end and it begins. Is she feeling good? Am I feeling good? Am I being told to feel good? We’re feeling good. Read More >>