August 20, 2015 Our Daily Correspondent Peckish By Sadie Stein Ludwig Knaus, Mein Napf ist leer, 1886. I dislike the term hangry, a neologism conflating hungry and angry and thus describing the rage induced by hunger. Like PMS, it seems to conveniently dismiss any legitimate anger that may arise in the course of a blood-sugar crash. And for those of us who are both frequently ravenous and frequently furious, it doesn’t allow for the possibility of much reasonable irritation. Besides, it rests on the supposition that there is such a thing as unclouded judgment, and that feels potentially very dangerous. Aside from that, the word itself is ugly. It evokes airplane hangars and chewy steaks and public executions and boring games played on pieces of scratch paper. It does not trip off the tongue. Hunger and anger, as words, both have such dignity, such grace—they are serious feelings in response to real stimuli. They are noble marble statues. Hangry, by contrast, is a Shoebox greeting card. But it is spiritually ugly, too. To be hangry is a luxury. The very use of the term suggests that hunger and suffering are so remote as to be irrelevant to the conversation. I don’t mind telling you that now that I think about it, it gets me absolutely furious. That said, only the other day, in the supermarket, I felt an almost overwhelming wave of rage crash over me because someone happened to already be standing in front of a spice I wanted to inspect. The intensity of the rage alarmed me, and I had to give myself a little talking to, and a bag of gummy bears besides. It is, after all, this sort of behavior that leads to charges of irrationality. Sadie Stein is contributing editor of The Paris Review and the Daily’s correspondent.
August 20, 2015 Studio Visit Long Story Short: In the Studio with Aidan Koch By Nicole Rudick Photo: Amanda Hakan On Aidan Koch’s cover for our Summer issue, six panels depict a woman lounging and reading and ruminating at the shore. Each panel exists both as a discrete event—here, she looks at her book; here, she shades her eyes—and as one sentence in a paragraph about the woman’s day at the beach. The issue also features Koch’s comic “Heavenly Seas,” the story of a woman who travels to a tropical location with a man she doesn’t love. It is twenty-eight pages long and contains just over a hundred words of dialogue and no narration. The difference between “Heavenly Seas” and the cover sequence is like the difference between Lydia Davis’s long short stories and her very short ones. Koch, a native of Olympia, Washington, is the author of three book-length comics—The Whale, The Blonde Woman, and, most recently, Impressions. She also makes sculptures, ceramics, and textiles that reinterpret the classical motifs that appear in many of her comics. Her narratives are elliptical, fragmentary, and open-ended; it seemed appropriate to include “Heavenly Seas” in an issue that is largely about translation. Last month, I met Koch at her studio, in the basement of a tatty mansion she shares with eight other artists and a corn snake named Cleopatra, in Bushwick, Brooklyn. Where did the story for “Heavenly Seas” come from? I’d been trying to think about how to utilize the idea of traveling. I’d read a couple of Paul Bowles books, and I liked how well he captured the mindset of how foreign places can seem to the traveler and how that’s seductive but also scary. He also thought about people’s attitudes in different countries and in confronting different cultures. That’s something I’d been considering, since it’s a big part of my life. I’ve been traveling constantly for the last three or four years. I left Portland in 2011 to travel and just didn’t stop. I went to Spain and Turkey, then I was in Scandinavia and around Europe. My book Field Studies documented 2012, when I lived in a different room in a different city every month, just because I didn’t know what to do with myself. I thought maybe I’d figure it out along the way. Read More
August 20, 2015 My First Time Sheila Heti on The Middle Stories By Dan Piepenbring Inspired by our famous Writers at Work interviews, “My First Time” is a series of short videos about how writers got their start. Created by the filmmakers Tom Bean, Casey Brooks, and Luke Poling, each video is a portrait of the artist as a beginner—and a look at the creative process, in all its joy, abjection, delusion, and euphoria. Today’s featured writer is Sheila Heti, whose first collection, The Middle Stories, appeared in 2001. Earlier this week, we had Tao Lin discuss Bed, his 2007 debut. “My First Time” will return with a new set of authors, including Ben Lerner and Donald Antrim, in a few months. In the meantime, you can watch the first set of “My First Time” interviews, published in May: Christine Schutt on Nightwork, her first collection of stories Branden Jacobs-Jenkins on his play Neighbors Gabrielle Bell on The Book of … series, her early cartoons J. Robert Lennon on his debut novel, The Light of Falling Stars
August 20, 2015 On the Shelf The True True Detective, and Other News By Dan Piepenbring Two covers from True Detective, a true-crime magazine. Image via io9 “Several times the proper business of bed has been interrupted by mosquitoes,” Virginia Woolf wrote to a friend on her honeymoon with Leonard, which does not appear to have been an unqualified success: “They bloody the wall by morning—they always choose my left eye, Leonard’s right ear, whatever position they chance to find us in. This does not sound to you a happy life, I know; but you see, that in between the crevices we stuff an enormous amount of exciting conversation—also literature.” Books: the eternal consolation prize. Subdued, black, drab, ruffled, veiled—the fashions of Victorian widows have once again wandered on to the catwalk. Rejoice. “The original moment when such styles took a somber turn was in 1861, after the death of Prince Albert, Queen Victoria’s great love. For the last forty years of her life, the monarch wore only black and expected everyone else to follow suit. A vogue emerged for gorily erotic storytelling tinged with mysticism. The image of the sexually experienced widow was regarded as a destabilizing factor, with her mourning frocks and jet jewelry subtly advertising the charms of the bereaved to potential second husbands. Darkness, then and now, becomes her.” And what would these fashions be without black, the official color of death? The history of black is a history of perfectionism, a quest to find the blackest black, a black that could be, as the members of Spinal Tap put it, “none more black.” “In the words of the French artist Pierre Soulages, black ‘opens up a mental field all of its own.’ He began his epic journey into blackness in 1947, when he started creating abstract expressionist works using a dark walnut stain to make bold slashes across canvas. By the 1950s he was working in oils, thickly smeared onto surfaces using a palette knife. And in 1979, he began a new series of works in a style he dubbed ‘Outrenoir’—roughly translated as ‘beyond black’—with canvases completely saturated in black.” Also back in style: gin, that most disreputable of liquors. Britain has seen fifty-six new gin distilleries open in the past two years, suggesting that it may finally have shrugged off any lingering resentment from the time of Georgian London, when “the city’s fetid backstreets spawned the Gin Craze, causing decades of soul-searching among philanthropists, politicians and magistrates about the wretched lives of the poor. Gin’s reputation as the crack cocaine of its day was cemented with lurid press tales about gin-fuelled degradation and squalor, culminating in William Hogarth’s infamous 1751 engraving Gin Lane.” Before True Detective the mediocre TV show, there was True Detective, the mediocre true-crime rag, which ran from 1924 to 1996. The magazine had an appetite for the lurid, which, combined with its deeply lax editorial standards, made it very successful: “Consider these three not at all atypical tales of crime detection from a typical issue of True Detective: ‘I Was Raped,’ ‘I Hit Her with the Bowling Pin,’ and ‘Sex Monster At Large’ … The covers reached peaks of exploitation not seen since the ‘shudder pulps’ of the 1930s. They pictured screaming, scantily clad models frequently bound, often gagged … Editing appeared to be almost non-existent, as guidelines carefully instructed writers to leave margins wide enough so manuscripts could fit the typesetter’s copy holder.”
August 19, 2015 From the Archive Snort to Win By Dan Piepenbring “Coke,” a poem by Scott Cohen from our Summer 1971 issue. Cohen’s collection Actual Size was published the same year. The difference in the speed of the thought process of a man who has just snorted coke and a man who hasn’t is a very strange number which has a cosmic meaning, that is, it enters into the cosmic processes. This number is 27,000. I was glad to find the Bar-B-Q Book sitting on my desk because sitting on the Bar-B-Q Book was another gram of coke. Read More
August 19, 2015 Our Daily Correspondent Birthday Girl By Sadie Stein From the cover of Silent Star. Why lie? I first picked up Colleen Moore’s 1968 autobiography, Silent Star, because I wanted to read about the dollhouse. Yes, Moore is a pivotal figure in early Hollywood. Yes, Flaming Youth is considered one of the defining pieces of flapper culture. But it was the dollhouse that grabbed me. The Colleen Moore dollhouse is indeed something to see, and plenty of people do: since 1949 the Fairy Castle has been on display at Chicago’s Museum of Science and Industry, where once can marvel at the perfection of the elaborate interiors, the world’s tiniest Bible, and the miniature paintings contributed by Walt Disney. And the memoir does not stint on details about the house’s furnishing, its financing, the dozens of Hollywood designers and artist friends Moore tapped to decorate the fairy castle, which as a touring attraction would raise a great deal of money for children’s charities. (Necessary to mention for those who want to suggest a grown woman is “arrested” for squandering time and money on such an enterprise—or, indeed, reading about it obsessively.) Read More