July 9, 2015 Our Daily Correspondent One-Man Job By Sadie Stein Clara Peeters, Still Life with Shrimp and Eggs, ca. 1635. It is nice when people offer to help and mean it. But I was sincere, too, when I said that no, I didn’t need help cooking the eggs. That it was a one-man job. It’s true, I could have told him what to do. I could have instructed him to cover the eggs with an inch of cold water, and bring it just to the boil. But I know he would have been watching the pot anxiously, proverbially, and that the exercise would produce a stress all out of proportion to the scale of the job. Where to me, turning off the heat, covering the pot, setting the alarm, and then shocking the eggs in their ice-water bath don’t interrupt other thoughts, or even tasks. Read More
July 9, 2015 In Memoriam James Tate, 1943–2015 By Jeffery Gleaves James Tate at the Grolier Poetry Book Shop in 1965. Photo: Elsa Dorfman James Tate, who wrote that the main challenge of poetry “is always to find the ultimate in the ordinary horseshit,” died yesterday in Massachusetts at age seventy-one. Winner of the Pulitzer Prize, the National Book Award, and the William Carlos Williams Award, Tate’s poems were “always concerned to tell us that beneath the busyness and loneliness of our daily lives, there remains in us the possibility for peace, happiness and real human connection,” wrote Adam Kirsch in the New York Times. Tate was born in Missouri but lived in Amherst, Massachusetts, since 1971. “I’ve imagined that every character and every single event takes place in this town, Amherst,” he once confessed. But John Ashbery once opined that Tate is a “poet of possibilities, of morph, of surprising consequences, lovely or disastrous, and these phenomena exist everywhere.” His poetry is often described as absurdist, and indeed the speakers in his poems come across as bewildered narrators who are as inquisitive as they are clueless—which is all part of their charm. His poetry has also been described as comic, ironic, hopeful, lonely, and surreal; “I love my funny poems,” he said, “but I’d rather break your heart. And if I can do both in the same poem, that’s the best.” Read More
July 9, 2015 Arts & Culture A Right-Size Dream By Sheila Heti An appreciation of Tove Jansson. Tove Jansson, ca. 1967. © Moomin Characters TM One day my mother—who immigrated from Hungary forty years ago—was visiting my apartment. She noticed that on the fridge my boyfriend and I had taped a large picture of Charlie Brown, which we had torn from the pages of The New Yorker. It was just Charlie Brown standing there with his hands at his sides. Upon seeing the picture she stopped and said, “What a nice boy! Who is it?” The remarkable thing wasn’t only discovering that my mother had strangely never encountered Charlie Brown, but that upon seeing him for the first time, she immediately liked him, felt sympathy and tenderness. Until that moment, I had not fully understood the power of comics: I had never witnessed so starkly what a perfect line can summon. A line drawn with love can make us as vulnerable as what the line depicts. Whatever cynicism I had about how commerce creates familiarity creates conditioned responses creates “love,” it crumbled in that instant. An artist’s love for what they create is what creates love. The first time I encountered Tove Jansson’s Moomin strips, I had the same feeling as my mother: what a nice boy! (Or whatever sort of creature Moomin is—a creature from a tender dream.) There is such vulnerability in his eyebrows, in his little round tummy, in the way he doesn’t have a mouth, in the babyish slope of the bottom of his face. It was strange, then, to learn that Jansson’s first drawing of Moomin was an attempt to draw “the ugliest creature imaginable” after a fight with her brother about Immanuel Kant. Read More
July 9, 2015 On the Shelf Practice Safe Selfies, and Other News By Jeffery Gleaves John William Waterhouse, Echo and Narcissus, 1903. Admire the tenacity of lit mags yet question their utility? The poet Stephen Burt argues that a new journal simply needs a raison d’être: it should seek to fill a “gap that earlier journals failed to fill, a new form of pleasure, a new kind of writing, an alliance with a new or under-chronicled social movement, a constellation of authors for whom the future demand for work exceeds present supply, a program that will actually change some small part of some literary readers’ tastes.” What can the Greek tragedies tell us about the current Mediterranean refugee crises? Aeschylus’s 470 B.C. play, The Suppliants, concerns the fifty daughters of the Egyptian king Danaus, who flee Africa and seek asylum in Greece. Fitting then that a new production of the play is being reimagined in modern-day Sicily, where “African refugees beg at traffic lights,” and is being staged in the ancient Greek theater of Syracuse, in Sicily. What can the inmates at a Missouri prison tell us about the evolution of language? In compiling a lexicon of facility-specific slang, they found that a viking is a “prisoner with poor hygiene,” a kite is “an informal message sent by a prisoner,” and a pumpkin is, you guessed it, “a term used for new arrivals” (but not for the reason you might expect). After all, “a dictionary is not a book of rules but a description of language as it is used in real life at a particular moment in time,” says English professor Paul Lynch, who volunteers at the prison. Jerry Seinfeld thinks that political correctness is killing comedy; he doesn’t perform at college campuses because “they’re so PC.” it wasn’t always that way: American college humor is historically steeped in offensiveness. Take National Lampoon, an offshoot of the The Harvard Lampoon and precursor to Saturday Night Live, for example, where “getting a rise out of people was precisely the goal, and the magazine was steadfast in its dedication to what it saw as a decidedly non-partisan approach to humor.” This week in the perils of the modern age: the Russian government released a public-awareness campaign highlighting the dangers of taking a selfie. With a little help from Google Translate, we learn that “when a person is trying to take a picture of himself—he scattered attention, he lost his balance, he does not look around and did not feel in danger.” Have fun this summer. Practice safe selfies.
July 8, 2015 Our Daily Correspondent The Tree of Knowledge By Sadie Stein Ink Plum, scroll, ink on paper. The National Palace Museum, Taibei. Some people call it the Tree of Heaven. No matter where its seed falls, it makes a tree which struggles to reach the sky. It grows in boarded-up lots and out of neglected rubbish heaps. It grows up out of cellar gratings. It is the only tree that grows out of cement. It grows lushly … survives without sun, water, and seemingly without earth. It would be considered beautiful except that there are too many of it. —Betty Smith, A Tree Grows in Brooklyn There is a very beautiful tree growing on West Eighty-third Street. You don’t notice it at first; it sort of blends into the walls and the weeds growing around it. I didn’t notice it for many years. And then one day, a flash of red catches your eye, and you look closer and see it isn’t a bit of plastic bag or a dead balloon or a Coke bottle or any of the urban flora one grows used to. It is a ripening plum. And then you see that there are many of them, dozens of them, and if you look very closely, you could, in that moment, be anywhere in the world. It’s next door to a church. Read More
July 8, 2015 Books Sex, Lies, and Audiotape By Linda Rosenkrantz Republishing Talk, fifty years later. The author with her tape recorder. Photos: James Dugdale Even before its publication, my book Talk’s salacious reputation preceded it: a highly respected editor rejected the manuscript with the words “repellently raunchy.” After a long trail of less colorful rejection letters—later enclosed in plastic and strung together into a kind of mobile by an artist friend—the book finally saw the light of day in the spring of 1968. The day after she received her copy, my mother, traumatized, made a beeline for the nearest therapist’s office. My father, on the other hand, viewed the book only as an object, something he could show off to his colleagues in the garment district—Fink the Mink Man et al.—but he never opened it. And when any of them asked him, “Do you realize what’s in this book?” he just shrugged and pointed out the pretty picture of me on the back cover. Read More