September 11, 2015 On Poetry Letter from Shanghai By Eleanor Goodman How a scandal about a Chinese name has been received in China. This past February, the Chinese media widely announced that the Chinese poet Biqujibu, an ethnic Yi from western Sichuan, had been shortlisted for the Pulitzer Prize in Poetry, international category. Only twenty-three years old, he was selected for his very first book of poetry, a 1,500-line epic poem written in English, called A Poem Sacrifice for a Mountain Dream. Among the literary stars who wrote glowing reviews of the book were Biden Sitland (a famous American poet), Liffen Lushby (a prominent American translator, critic, and member of the Nobel selection committee), and Didian Linda (an American woman poet, a proponent of “rural writing”). This was an astonishing honor for a young ethnic-minority writer living in a country whose great literary works have been largely overlooked by American critics and readers. But of course it never happened. The entire thing, including the unconvincing names and the assertion that the Pulitzer committee created the “international” prize just for Biqujibu’s sake, was made up. Even the poet in question turned out not to be ethnic Yi, but Han (the majority ethnicity in China). News of this fantastically ambitious ruse never made it to the States. And why should it have? It had nothing to do with the U.S., really; it had to do with the distant fame of the Pulitzer, and a lust for outside recognition in a dusty mountain town somewhere near the border of Yunnan. Read More
September 11, 2015 This Week’s Reading Staff Picks: Yeltsin and Yelling By The Paris Review From They Live, 1988. We published Padgett Powell’s “Boris Yeltsin Spotted in a Bar” in our Summer issue. It spoke to me, but I don’t know why. It’s basically a list of items you’d find in a well-stocked hardware store, followed by a meditation on a drunk spouse, followed by the appearance, in an American bar, of someone who may or may not be the deceased Russian statesman. But its narrator, with his digressive style, is lonely in a way that makes him obsessed with everyday mysteries, and he felt very alive to me, in his mania. That story is from Powell’s new collection, Cries for Help, Various, where—be still my beating heart—it sits among a Yeltsin trilogy, rounded out by “Yeltsin Dancing” and “Yeltsin and Canaries.” As with the rest of Cries for Help, these stories are at once absurd and plaintive; they generate the kind of curiosity you feel when you see one boot sitting in the middle of the street, or the same stranger in three different neighborhoods in a day. Critics sometimes dismiss Powell’s fiction—as with Barthelme’s before him—as directionless riffing, but these aren’t non sequiturs: his sentences gather pathos as they accumulate. He’s hidden a lot of sadness in such a funny book. —Dan Piepenbring Last weekend, I rewatched John Carpenter’s 1988 film They Live, a subversive and satirical take on capitalism. Midway through the film, with the planet in jeopardy, two protagonists engage in an exhausting six-minute fight; one has insisted that the other don sunglasses that allow him to see Earth’s invading aliens. I see now that the scene is an astute comment on human nature: even when the future of the planet is at stake, people can’t be trusted to make the right decisions. This realization comes only from having read Lee Billing’s essay at Nautilus about digging into Stanislaw Lem’s early sixties philosophical tract, Summa Technologiae. The book—which sounds dense but also brilliant—examines questions about our relationship with technological advances, such as “Where are the absolute limits for our knowledge and our achievement, and will these boundaries be formed by the fundamental laws of nature or by the inherent limitations of our psyche?” In Lem’s appraisal, the potential obsolescence of the human race will be determined by the unpredictability of human behavior—an unpredictability he experienced firsthand as a Polish Jew in World War II: “We were like ants bustling in an anthill over which the heel of a boot is raised … Some saw its shadow, or thought they did, but everyone, the uneasy included, ran about their usual business until the very last minute, ran with enthusiasm, devotion—to secure, to appease, to tame the future.” —Nicole Rudick Read More
September 11, 2015 On Poetry The Most Misread Poem in America By David Orr Everyone knows Robert Frost’s “The Road Not Taken”—and almost everyone gets it wrong. Frost in 1913. From The Road Not Taken: Finding America in the Poem Everyone Loves and Almost Everyone Gets Wrong, a new book by David Orr. A young man hiking through a forest is abruptly confronted with a fork in the path. He pauses, his hands in his pockets, and looks back and forth between his options. As he hesitates, images from possible futures flicker past: the young man wading into the ocean, hitchhiking, riding a bus, kissing a beautiful woman, working, laughing, eating, running, weeping. The series resolves at last into a view of a different young man, with his thumb out on the side of a road. As a car slows to pick him up, we realize the driver is the original man from the crossroads, only now he’s accompanied by a lovely woman and a child. The man smiles slightly, as if confident in the life he’s chosen and happy to lend that confidence to a fellow traveler. As the car pulls away and the screen is lit with gold—for it’s a commercial we’ve been watching—the emblem of the Ford Motor Company briefly appears. The advertisement I’ve just described ran in New Zealand in 2008. And it is, in most respects, a normal piece of smartly assembled and quietly manipulative product promotion. But there is one very unusual aspect to this commercial. Here is what is read by a voice-over artist, in the distinctive vowels of New Zealand, as the young man ponders his choice: Read More
September 11, 2015 On the Shelf Cherish the Poop You Are Full of, and Other News By Dan Piepenbring Anonymous, Cabinets d’aisances des fosses inodores (detail), ca. 1830. New York in the late seventies was not exactly a utopia: crime was soaring, graffiti was ubiquitous, mace was a must-have accessory. But a certain set of novels and films has made the era something to yearn for: “This was the last moment when a novelist or poet might withdraw a book that had already been accepted for publication and continue to fiddle with it for the next two or three years. This was the last time when a New York poet was reluctant to introduce to his arty friends someone who was a Hollywood film director, for fear the movies would be considered too low-status … these works express a craving for the city that, while at its worst, was also more democratic … where not even money could insulate you. They are a reaction to what feels like a safer, more burnished and efficient (but cornerless and predictable) city.” Today in writing advice that isn’t total shit, even if it’s about shit: “I preach the radio. I do not preach thinking you must know what you are about. Faulkner had good drugs and a big radio. I recall having heard my own little radio at times. It is rare, yes, and it is, now, rarer. But you are young and have your juice, you’re still full of poop, which is the necessary requisite to tuning the radio. Got to be some poop out there, on the airwaves, or in there, in you, for you to tune it in. Cherish the poop you are full of, and work on excreting it with sound fundamentals.” That’s Padgett Powell, being correct. On procrastination and art: might there be something heroic, or at least admirably resistant, in the idea of putting off one’s writing? “Bartleby is my hero, endlessly preferring not to, but though I find him sympathetic, he—along with all the ‘writers of the no’, writers who turned their backs on writing, Rimbaud and Walser among them—is not in the same game as me. Or if we are in the same game, I’m not playing it right. I don’t turn my back on writing. I don’t say no. I say yes and fail to follow through. I sit suspended between preferring not to and not preferring to enough—I’m hung on a peg.” Kenzaburo Oe’s A Personal Matter is “a compressed, unflinching portrait of the turmoil that envelops Bird, an alcoholic, after his son’s birth.” The novel has a new champion: none but Jonathan Franzen, who adores its disturbing elements, its comic elements, its vomit elements: “I don’t know of a more compelling description of throwing up than the ones that occur in this book. He’s sweating, he looks at himself in the mirror, and there’s bad sex. It’s partly that—the really, really tight focus on Bird’s body. There’s nothing like a microscopic view of your body to evoke shame.” While we’re on shame—it’s time for men to cry again. They have much to cry about, being men, and yet they shed no tears … why, when male weeping has been treated as normal in almost every part of the world for most of recorded history? In fact, it was exalted for a while: “ancient Greeks saw it as a model for how heroic men should behave … 20,000 knights swooning from grief were considered noble, not ridiculous … there’s no mention of the men in these stories trying to restrain or hide their tears … They cry in a crowded hall with their heads held high. Nor do their companions make fun of this public blubbing; it’s universally regarded as an admirable expression of feeling.”
September 10, 2015 Correspondence Fun with Freud By Dan Piepenbring H.D., 1922 A letter from Hilda Doolittle (H. D.) to her companions Bryher and Kenneth Macpherson, sent March 1, 1933. H. D., born on this day in 1886, had journeyed to Vienna to commence her psychoanalysis with Freud himself, though he was old and frail by then. She wasn’t supposed to discuss her analysis with friends, but she wrote about it in great depth to her loved ones; those letters are collected in Analyzing Freud. Here, she chronicles their first meeting and the difficult initial session. The analysis soon improved, though H. D. remained wary of Freud; among other concerns, she found it perturbing that he preferred dogs to cats. Read More
September 10, 2015 Our Daily Correspondent Ashes to Ashes By Sadie Stein A vintage ad for Wonder Bread. I was surprised and touched, when I returned from a two-week trip, to find that a loaf of Wonder Bread had grown a furry cloak of blue-green mold. Read More