August 6, 2015 First Person My Grandmother’s Wheelchair By Stephen Hiltner The author, posing with his grandmother, Natalie Faunda, at a park in Budapest, in 1990. My grandmother had a stroke in her late sixties. She was out in her garden, struggling in the hot sun, when she collapsed into a row of tomato plants. A neighbor heard her cries for help and called an ambulance. It was a mild case of heat stroke, a doctor said; he sent her home. That night, having returned to her house on Vaughn Avenue—in what, even then, was one of the poorest parts of Youngstown: a neighborhood on the East Side called the Sharon Line—she suffered a second stroke. This one was much more severe. When she stabilized, days later, the right side of her body was paralyzed. She had a few months to live, maybe a year. Except that she didn’t; my grandmother would go on to live for nearly twenty years. And in the weeks that followed, at a local rehabilitation center, she learned to do with her left hand everything she’d done predominantly with her right: to write, to eat, to tie her shoelaces, to button her shirts. With the assistance of a quad cane, she eventually learned to walk—though in truth it was never much more than a shuffle. Read More
August 6, 2015 Our Daily Correspondent The Perils of Self-Care By Sadie Stein From an early twentieth-century ad for St. Moritz. Here is a partial list of things to dread about spa treatments: Read More
August 6, 2015 On the Shelf At the Hundredth Universal Esperanto Congress, and Other News By Dan Piepenbring From the 1909 Esperanto Congress. In 1969, Life ran a photo essay called “What it takes to be a lady author anymore,” with predictably outmoded advice: “swim a little,” for starters, “exercise in a bikini,” and be “photographed in bed.” The magazine photographed Jeanne Rejaunier—who was promoting a new novel called, ironically enough, The Beauty Trap—in various titillating poses, and also raking leaves in a Victorian dress. “Just possibly because she smiles so prettily on the book jacket (the back and the front of the book),” Life wrote, “The Beauty Trap is now in its fourth printing.” Today in obscure centennials: “Last week the 100th Universal Congress of Esperanto was held in Lille. The public program included a traditional dance workshop in the Place du Théâtre, an ecumenical service in the Eglise Saint-Maurice and concerts by Esperanto singers. There were also introductory lessons in Esperanto, and an international football match between Esperanto and Western Sahara. (The match was abandoned at half-time with Western Sahara 4–0 up.)” Rock music and fiction haven’t blended terribly well over the years—there’s a Great Jones Street here, a Goon Squad there, and not much between. But 2014 saw no fewer than five entrants in the ongoing contest for Great American Rock Novel, and “interestingly, none of these 2014 titles concerns itself with conveying the over-the-top elements of rock on the page. Rather, they focus on characters dabbling in rock within the larger context of their more domestic pursuits: growing up, falling in love, finding a path, having a family; in short, the arcs that have been part of the novel’s scope since at least Austen. Much of the trouble for these characters comes when their more universal journeys collide with their need to make music, play in band, tour in an airbrushed bus.” Salvador Dalí’s childhood diaries remain untranslated, which is a shame, because they find him witnessing the unrest in the lead up to the Spanish Civil War: “At this point in the journal, the illustrations by Dalí … have become morbid. An old man hangs from a noose with his tongue lolling out. On the facing page, a warrior with sword in hand extends the severed head of a long-haired man toward the viewer.” On the literary scene in Ukraine, which has a strange emphasis on finality: “Ukrainian literature—or Ukrainian culture more broadly—employs the words last quite often: last territory, last bastion, the last issue of a magazine, the last books of a bankrupt publisher, the last Ukrainian-speaking readers, writers, translators. There is a well-known contemporary classic, a collection of essays by one of Ukraine’s best-known authors, Yuri Andrukhovych, called My Last Territory; there is an art management agency called Last Bastion.”
August 5, 2015 Look Teenage Dream By Dan Piepenbring Four paintings from Grace Weaver’s “Teenage Dream,” showing for two more days at Thierry Goldberg Gallery. Weaver takes the title of her show from Katy Perry’s (not undeservedly) ubiquitous 2010 single. She imagines her paintings as pop songs. See more of her work on her Web site. Match Point, 2015, oil on linen, 72″ x 72″. Read More
August 5, 2015 Our Daily Correspondent My Day By Sadie Stein The Broadway Melody of 1929 won the Oscar for best picture. The highest-grossing film of the year, it was the first all-talk musical, and MGM’s first musical, period. It contained a groundbreaking Technicolor sequence. Even if you’re not a cinephile, the film’s a great, pre-Code watch. While the acting is certainly dated, and the story somewhat melodramatic and lurid—it centers around a sister-act love triangle—it’s an emotionally and visually satisfying spectacle. Read More
August 5, 2015 Books The Essential Detail By Donald Breckenridge Emmanuel Bove’s fiction captures “a well-trodden and forever alienating Paris.” Emmanuel Bove. Emmanuel Bove was a master of hyperobjectivity. His characters, drawn from all classes, are often paralyzed by a failure of will, poisoned by envy, cursed with bad luck or betrayal. With relentless clarity, Bove imparts a deeply felt and lasting impression of the lives of these solitary and emotionally shattered young men whose fortunes and futures hinge on a stroke of luck, an immoral act, an accident. The author’s own youth was a harsh one, characterized by instability and discord; and yet, like the lives of his characters, it was occasionally graced by wealth and privilege. Born in Paris, in 1898, Bove was the son of a Belgian-born housemaid, Henriette Michels, and an immigrant Ukrainian Jew, Emmanuel Bobovnikoff. Bove’s father was a largely absent womanizer whose financial contributions to the family were infrequent at best. Bove and his brother, Léon, lived in abject poverty with their mother, who moved frequently within the slums of Paris to find work, always shadowed by bill collectors. However, Bove’s childhood took a decisive turn when his father’s affair with Emily Overweg, a wealthy painter and the daughter of the British consul in Shanghai, led to an unlikely marriage. Sent to live with his father and stepmother, Bove experienced the twilight of Belle-Epoque opulence, while Léon, who would become a doctor, remained with his mother in an unforgiving cycle of grinding poverty. And like the fleeting encounters with fortune that Bove employed in his fiction, this unexpected stretch of good luck would not last. Read More