August 25, 2015 Our Daily Correspondent Justification By Sadie Stein German students fencing in the 1820s. The other day, I stopped to give myself a talking-to. I’m worried about you, I said sternly. Your constant outrage is not healthy, and all these self-righteous interventions with strangers are completely out of control. I didn’t want to be the one to say it, but you’re turning into your mother. I was appropriately horrified. I knew what angel-me was talking about: the time my mom slammed on the brakes to leap out of the car and accost the neighborhood kids whose snowball had sailed into the street. Or the time she yelled at a preteen for smoking on the sidewalk in front of the rec center. Or the time she lectured a car full of my classmates about their grammar. Read More
August 25, 2015 On Travel The “Romance” of Travel By André Naffis-Sahely Joseph Roth’s hotel years. The Grand Hotel des Bains, where Thomas Mann wrote Death in Venice. “I am a hotel citizen,” Joseph Roth declared in one of the newspaper dispatches anthologized in The Hotel Years: Wanderings in Europe Between the Wars, “a hotel patriot.” It’s easy to see why: Red Joseph was nothing if not a cosmopolitan humanist, and the hotel was his natural habitat. “The guests come from all over the world,” he explains: Continents and seas, islands, peninsulas and ships, Christians, Jews, Buddhists, Muslims and even atheists are all represented in this hotel. The cashier adds, subtracts, counts and cheats in many languages, and changes every currency. Freed from the constriction of patriotism, from the blinkers of national feeling, slightly on holiday from the rigidity of love of land, people seem to come together here and at least appear to be what they should always be: children of the world. Read More
August 25, 2015 Bulletin Announcing The Unprofessionals: Our New Anthology By The Paris Review Click to enlarge This November, we’re publishing our first anthology of new writing in more than fifty years. The Unprofessionals: New American Writing from The Paris Review features thirty-one stories, poems, and essays by a new generation of writer. It’s a master class, across genres, in what is best and most alive in American literature today. Take a look at the cover and you’ll recognize names such as John Jeremiah Sullivan, Atticus Lish, Emma Cline, Ben Lerner, and others who have become emblematic of a renaissance in American writing. Although these are younger writers, already any history of the era would be incomplete without them. At a moment when it’s easy to see art as another product—and when writers, especially, are encouraged to think of themselves as professionals—the stories, poems, and essays in this collection have no truck with self-promotion. They turn inward. They’re not afraid to stare, to dissent, or even to offend. They answer only to themselves. In the coming months, we’ll reveal more about the anthology, which Akhil Sharma calls “the best possible introduction to the best literary magazine we have.” Stay tuned!
August 25, 2015 In Memoriam Cynthia Macdonald, 1928–2015 By Dan Piepenbring Cynthia Macdonald “Wait in the Chair,” a poem by Cynthia Macdonald, appeared in our Spring 2004 issue. Macdonald, who died earlier this month at eighty-seven, taught for many years at the University of Houston; she was also a psychoanalyst. Richard Howard wrote that she drew her poems “from the grotesque.” “Grotesque comes from the grotto,” she said in an interview: “the grotto is, if you want, the hidden part of everybody … all writing comes from the grotto, whether it comes out as overtly odd or very conventional. So I would agree with that definition. I would say I am interested in strange things that happen, because they seem like a sharpened metaphor of what happens all the time.” Read More
August 25, 2015 On the Shelf Loved the Ocean, Lived in the Desert, and Other News By Dan Piepenbring Agnes Martin, Untitled #1 (detail), 2003, acrylic and graphite on canvas. The poet Cynthia Macdonald has died at eighty-seven. Hayden Carruth praised her “light sardonic touch”; her poems sometimes drew on her career as a psychoanalyst, in which her specialty was, appropriately enough, writer’s block. “All people who really want to write and can’t, or who really need to write and can’t, have real conflict and real oppositions,” she said in 1998. “One part of them is saying you have to do this, you want to do this, and the other part is saying you’re not allowed to.” Dismaland, Bansky’s sprawling, much-touted parody of Disney theme parks, is supposed to indict consumer capitalism by immersing us in a grim portrait of social collapse—but its real appeal is as banal as anything with the Disney insignia on it: “it remains a fun ‘family day out. For all his protests, Banksy is a showbizman. The night this correspondent visited, the organizers were laughingly dispensing unlimited quantities of prosecco, strangely unaware of their resemblance to the portrait above them of Prime Minister David Cameron, sipping white wine insouciantly while the curtain is drawn on old Blighty. Fireworks lit up the dark. Hollywood stars joined in the frivolity. Dandily dressed salespeople circulated with price-lists of objets-d’art, and Banksy has auctioned his work elsewhere for hundreds of thousands of pounds. In 21st century Britain, even anarchists have joined the champagne society.” Richard Diebenkorn—who died in 1993, and whose art was featured all the way back in our Fall 1984 issue—kept sketchbooks throughout his life, often putting one down only to pick it up years later: “The books are filled with stunningly gestural sketches of bits and pieces of daily life, both mundane capturing of everyday things, and powerful vignettes of intimate family moments … We see brief visual meditations on vistas seen on travels, and we see carefully built studies that would become the large-scale finished Ocean Park paintings we know so well.” A new biography of Agnes Martin brings her many contradictions into sharp relief: “the Martin who insisted that nothing was more important to her than the ocean yet lived most of her life in the desert; Martin the ascetic guru, subsisting through the winter on hard cheese and walnuts and homegrown, preserved tomatoes, yet also the margarita- and steak-loving life of the party … Martin the disciplined practitioner who woke up early every morning to paint, and who admitted, ‘I don’t get up in the morning until I know exactly what I’m going to do. Sometimes, I stay in bed until about three [in] the afternoon, without any breakfast.’ ” (She was also, in her life as a motorist, an inveterate speeder.) Henri Cole elaborates on his equivalent of Proust’s madeleine: “You take a piece of Wonder Bread and spread butter over it and sprinkle Domino sugar on top. It’s love-food. It’s dessert for people who don’t have a dessert, like in the Depression era. By eating it as an adult, I am recreating childhood and the purest pleasure of love-food.”
August 24, 2015 Look The Book Cover in the Weimar Republic By Dan Piepenbring Oskar Garvens, 1925. Compared to other aspects of the book arts—typography, binding, tooling—the dust jacket is a pretty recent innovation. Depending on whom you ask, it was born either in 1833, to adorn an English novel called Heath’s Keepsake, or it was an earlier, French invention, a maturation of the yellow paper jackets their softcover books often came wrapped in. In any case, the dust jacket didn’t come to Germany until around 1900—but by the birth of the Weimar Republic, nineteen years later, German artists were doing incredible things with the medium. The Book Cover in the Weimar Republic is a catalogue of the Jürgen and Waltraud Holstein collection, comprising the covers of a thousand books published between 1919 and 1933 by some 250 houses in Berlin. Between the two world wars, the city enjoyed an astonishing expansion in its book production and its libraries: from 1920 to 1927, about three hundred new publishing houses emerged, many of them intent on printing books that experimented with the latest advances in art and design. As Steven Heller explains at Design Observer, there was a practical reason for the design boom, too: Read More