September 17, 2015 Correspondence Small Man on Campus By Dan Piepenbring Williams ca. 1920. From letters William Carlos Williams sent to his mother as a student at the University of Pennsylvania School of Medicine. During his time there, Williams, born on this day in 1883, joined Mask and Wig, the nation’s oldest all-male collegiate musical comedy troupe, and landed speaking roles in at least two productions. He was a varsity fencer and the art editor of the med-school yearbook, which awarded him the superlative “most versatile.” He also met Ezra Pound, beginning a long and sometimes turbulent friendship; here Williams mentions some of their earliest days together. Read More
September 17, 2015 Our Daily Correspondent Fear of Heights By Sadie Stein From a 1952 edition of “Monte Verità.” Those who go to the mountains must give everything. That’s all there is to it. —Daphne du Maurier, “Monte Verità” Everest is opening in theaters across the country, bringing with it much CGI, apparently stunning vistas, and the sort of relaxation that can only come from knowing the worst from the outset. For those of us who like a different sort of thrill, I recommend another mountain-climbing story: Daphne du Maurier’s “Monte Verità.” Originally collected in 1952’s The Apple Tree, “Monte Verità”—really a short novella—can now be found in Don’t Look Now and Other Stories, with a trenchant introduction by Patrick McGrath. “Monte Verità” is about mountain climbing and about spirituality and sexuality, any more than that would be giving it away. Writing about the story, the late Roger Dobson put it this way: Read More
September 17, 2015 Arts & Culture The Disasterpiece By Chantel Tattoli The saga of Scary Lucy. Illustration by Ellis Rosen. In a no-frills park in Celoron, New York, where Lucille Ball grew up, there stands a four-hundred-pound bronze statue with a puss that’s been likened to Darth Vader, the demonic doll Chuckie, and Kim Hunter in her Planet of the Apes makeup. Scary Lucy, as the figure has been dubbed, bears no great resemblance to the comedienne who once hooked America with hennaed poodle bangs and balletic slapstick. In early April 2015, some six years after Scary Lucy was installed, the local paper ran a story about the village seeking funds to improve or otherwise replace the statue. The A.V. Club picked up the development the next day, and nationwide coverage followed, from the New York Times (“NY Village Wants to Give Its Lucille Ball Statue a Makeover”) to Gawker (“Drunk, Leering Lucille Ball Statue Menaces Small Village”) to NPR (“In New York, A Sculptor’s Got Some S’plaining To Do”). It was funny. But it was more than that. The black magic of statuary is in how the fact, myth, and memory associated with its flesh-and-blood celebrity can get canned inside it. Spark that with controversy, and presto: Lucille Ball’s Bronze Age. Read More
September 17, 2015 On the Shelf Pointless Shiny Things, and Other News By Dan Piepenbring Peter Quinn, via Hyperallergic Our culture’s obsession with design has led to a lot of useless flash, especially on the Internet, where things glide, slide, swoop, pulse, and occasionally dance across the screen. The artist Peter Quinn parodies user interfaces and their ornaments, including “such high-action gibberish as ‘nice, but useless circle,’ frenetic ‘pointless graphs,’ ” and other such forms of “flickery nonsense.” Before Thomas Pynchon there was William Pynchon, his ancestor, who was also stirring up literary trouble of a sort: in 1650 he published a pamphlet, The Meritorious Price of our Redemption, which “was not in full agreement with the Reformed position on Christ’s atonement … the Massachusetts Bay General Court took notice of the book, describing it as ‘containing many errors & heresies generally condemned by all orthodox writers that we have met with’ and ordering ‘the said book to be burned in the market place, in Boston, by the common executioner.’ Pynchon was forced to issue a retraction.” Valeria Luiselli’s The Story of My Teeth is a novel, and an essay, and an attempt at a new kind of collaboration—written with factory workers at Grupo Jumex, a juice factory in Mexico City. “Luiselli constructed the book as … a serialized fiction that invited the input of the factory workers. The process was simple. She wrote an installment of the novel, and the factory workers organized a space to read and discuss it. Recordings of their commentaries, as well as images of local landmarks, were then sent back to Luiselli, who would listen to their notes and view the pictures before writing the next section. The formula for the novel, as Luiselli describes it: ‘Dickens + mp3 ÷ Balzac + jpeg.’ ” In which Andrew O’Hagan attempts to cross the street: “For some weeks now I’ve been standing at St Giles Circus—the junction of Tottenham Court Road, Oxford Street, New Oxford Street and Charing Cross Road—watching people try to pass from one side of the road to the other … People set out when the green man appears and before they get halfway they are running on red, and very few of them know there are cars about to stream onto the crossing from three blind corners, and many of the drivers are quite unaware of the existence of a crossing twenty yards ahead … We might forget that living in a big city means submitting to a lot of rules about how to live in a big city. You can’t park, you can’t wait, you can’t cross, you must queue, you’re being filmed. There are rules, zones, fines. People in the country don’t have that, and urban dwellers might, at some level, always be looking for strategies that could justify their basic refusal to conform. I thought of that as I watched a man in a business suit climb over two sets of barriers to cross the road. He just wouldn’t walk the extra few meters to be told what to do by an electronic system.” My dad was named Gary. Gary Sernovitz is also named Gary, and he’s not happy about it: “To watch television or movies as a Gary is to know pain. When writers can’t think of a joke, when they want to quickly convey character—or chinless lack thereof—they reach to my punchline first name for the bad blind date, the sad sack, the noodge. Garys rarely even rise to the level of real characters, in our culture, but when they do, they don’t lose their essential pathetic Garyness … Gary is a box of day-old donuts on the grab bag table, sitting among the names favored by rising immigrants groups, fearless parents, and people who should be prosecuted for Naming Under the Influence.”
September 16, 2015 On Translation Back to School with the Übermensch By Damion Searls Nietzsche on education, inequality, and translation. Nietzsche as a pupil at Schulpforta, 1861. When I went off to college, it wasn’t, as far as I could tell, the result of any decision. The assumption—the fact—was simply there, in my family or high school or race and class or wherever it was, that there was more to come after twelfth grade. I didn’t appreciate the privilege nearly enough, but I also felt no need to justify to myself or anyone else how I planned to spend the next four years. There must still be such eighteen or nineteen year olds out there, never expected to explain themselves, but it is harder to imagine them. Nowadays, education is fraught and embattled and debated and doubted down to the core. I feel like I’ve read the same essay half a dozen times recently—here are two good examples—an essay insisting that the true value of education is not calculable in monetary terms. Education is moral, philosophical: a process of creating and becoming better people. You can make the argument that a liberal-arts education is “valuable” in the narrow sense, since it is, but even if that argument wins some battles—and it rarely does—it will lose the war. Once you concede that economic striving takes priority over artistic or humanistic goals, then arts funding and English degrees and even pure science are never going to withstand the juggernaut of business and technology. You have to fight under a higher standard. I agree with this line of thought and am happy enough to see the point made half a dozen times over. I’ve read it recently in Friedrich Nietzsche, too, whose little-known 1872 lectures On the Future of Our Educational Institutions are appearing this fall in my new translation under the snappier title Anti-Education. Even in Nietzsche’s day, the state and the masses were apparently clamoring for as much knowledge and education as possible—leading to the greatest possible production and demand—leading to the greatest happiness: that’s the formula. Here we have Utility as the goal and purpose of education, or more precisely Gain: the highest possible income … Culture is tolerated only insofar as it serves the cause of earning money. Read More
September 16, 2015 Our Daily Correspondent Playing Cards with Enid By Sadie Stein The British Pathé newsreel series Personality is fascinating. Each consists of clips of the “home life” of a British celebrity of the 1940s or 1950s: artists, actors, musicians. We see them romping with dogs or wandering on lawns or, in the case of Daphne du Maurier, looking over the Cornish coast. No one could call this hard-hitting stuff. The cheery narration and jolly music give every life a sense of ordered industry. (No domestic strife here!) And yet, I fancy, if you really listen hard, there are dark things stirring below the produced surface. Take, for instance, this clip of Enid Blyton, the children’s writer, from 1946. Read More