June 15, 2015 On the Shelf Your Very Own Celestial Clock, and Other News By Dan Piepenbring The gilt cover of Matisse’s Ulysses, from 1935. John Berger is eighty-eight, and still seeing—which isn’t to commend him for having retained his eyesight, but to say he’s still an acute observer. “I live enormously through my eyes. The visible is simply a very important part of my experience of being in this world … my own story doesn’t interest me. There’s a risk of egocentricity. And to storytellers, egocentricity is boring.” “The world made this book true while I was writing it, which of course is the paranoid’s greatest fantasy.” The deeply surveilled world of Joshua Cohen’s new novel, Book of Numbers, seemed improbable, if not impossible, before the Snowden leaks. Now the book is positioned not as a techno-dystopian fable but as an aspirant to that lofty title, “The Great American Internet Novel.” Our London editor, Adam Thirlwell, on Wayne McGregor’s new ballet, Woolf Works: “The mystery arises through a pragmatic attention to physical detail … a truth recognized subtly in the way a choreographer describes making a ballet on a dancer. The dancer is the ballet’s pivot. For there Ferri was. She wasn’t Mrs. Dalloway, or Virginia Woolf. Nor was she Juliet. Or rather, she could allude to all of these—she contained multitudes—but the allusions were only flourishes. Really, she was only herself, and that was everything.” Meanwhile, Anne Washburn’s new play, 10 out of 12, is set entirely in the vicinity of a thespian’s nightmare: a tech rehearsal. It is, in essence, a play about figuring out how to stage a play: “Washburn stakes out the tech rehearsal as her territory, a hitherto unexplored subgenre of backstage drama as far as I know, and uses its technology to subtle effect. Washburn’s play, drawn from tech rehearsals of her own shows and listening in on others, provides a fairly faithful reproduction of this ugly task. All of the action and dialogue, which are meant to appear spontaneous and random, are carefully set forth in the 142-page script. Her clever idea is to have the audience listen in on headsets, tuned to the same channel that the tech crew is using to talk to one another while the work continues.” What to do with those sixteen thousand bucks you have under the mattress: buy a rare 1935 edition of Ulysses with etchings by Henri Matisse. “Matisse’s mythical Nausicaa design is embossed in gold on the front cover of the edition, displaying four shapely nudes enclosed in a sphere with Roman numerals forming a celestial clock.” (As if Matisse would have included nudes who weren’t shapely.)
June 12, 2015 This Week’s Reading Staff Picks: Misspelled Marven, Messengered Mineral Water By The Paris Review A still from A Pigeon Sat on a Branch Reflecting on Existence. Say what you will about Tom McCarthy’s novels: they bring out the best in their critics. Few other writers goad us into asking such broad, terrifying questions as, What should fiction do? Who is it for? And how can it undermine authority? In 2008, Remainder inspired Zadie Smith’s seminal essay “Two Paths for the Novel”; now McCarthy’s Satin Island has landed a series of reviews offering unusually acute observations on the state of the novel. Read Gideon-Lewis Kraus in Bookforum, James Lasdun in the Guardian, Christopher Tayler in the London Review of Books, and William Deresiewicz in The Nation: each unabashedly cerebral, and each proving that seemingly empty-isms—realism, postmodernism, postcolonialism, formalism, antihumanism—have life in them yet. —Dan Piepenbring The property names in Monopoly are taken from the boomtown ideal that was turn-of-the-century Atlantic City, with one glaring exception: Marvin Gardens, which does not, as such, exist. If you consider the game a metaphor for the dreams of the middle class, that absence bodes ill: it’s a coveted place you can never hope to get to. John McPhee’s 1972 essay “The Search for Marvin Gardens,” collected in his Pieces of the Frame, uses Monopoly to examine the significance of Atlantic City in the seventies, when it had fallen on hard times. As McPhee and a partner roll the dice, advancing their pieces and buying properties, a ghostly second narrator walks through the real St. Charles Place, Baltic Avenue, and New York Avenue, reporting that they’re all slums; the two players circle the board and the neighborhoods get worse. When McPhee realizes that his “only hope is Marvin Gardens,” his reportorial counterpart learns that it’s not even in the city at all; it’s one town over in Margate, New Jersey, and it’s spelled Marven. Rarely is McPhee’s writing as disjointed as it is in this piece; the essay’s aphoristic, time-traveling, jump-cut style asks so much of its readers that it’s astonishing The New Yorker published it. I haven’t seen anything as boldly form-defying in its pages for a while. —Jeffery Gleaves Read More
June 12, 2015 Our Daily Correspondent The Gracious Lie By Sadie Stein From the paperback cover of The Party. Readers of this space know that I’ve recently devoted an unprofitable amount of time to puzzling over the underlined passages of a secondhand copy of Sally Quinn’s guide to entertaining, The Party, notorious when it was first published in 1997. My quest to discern the logic in the underlining became, as Douglas Sirk would have it, a magnificent obsession. Was the reader mad? Did she have an ax to grind? Was she a reviewer? None of these theories really held up. But then one person came up with an approach far more innovative than my own. Like the perennially underestimated amateur sleuth who’s able to crack a case that’s stumped the authorities, this person took one look at the examples I had isolated and was able to see with a clarity that, in my obsession, had escaped me. “I was inspired to string all the underlined bits into a poem,” the reader wrote: Read More
June 12, 2015 At Work Split Screens: An Interview with Richard McGuire By Leanne Shapton Photo © Maelle Doliveux Last November, on his birthday, I accompanied Richard McGuire to the emergency room. He was experiencing some excruciating back pain. Richard is an unusually polite and considerate man, but as he waited and waited for some relief, I began to worry about him. I asked a passing nurse about pain medication. She poked her head into our room and explained there was a “code” on the floor—the doctors had been dealing with that. We went quiet. Richard explained that “code blue” usually meant a death. Half an hour later, Richard was given a Valium and two extra-strength Motrin. He talked about being in the hospital with his father the night his mother died, the machines all going crazy, the medics rushing in and telling them to leave. When his father died, he said, it was different, more peaceful. Richard was X-rayed, diagnosed with a severe muscle spasm, and discharged. We headed to a restaurant a block away where far-flung friends had gathered for his birthday dinner. It struck me, as we ordered burgers and martinis, that the past few hours could be a strange and miniature overture to his book, Here, which he had just finished. A birth date, a death date, loving and painful memories, banalities, transient spaces, and always an eye on the time. Here launched a month later and has since become a best seller. I feel that Here is a very new kind of ghost story. Not a scary one, but a haunting one. What portion of the book was inspired by the death of your sister and parents, and what was the original strip inspired by, or an exercise in? I think their passing set the tone for the book. You see things differently after going through that experience—the idea of impermanence is made more real, and everything seems fragile. The family home had to be sold. Just emptying it took a while. My parents lived there for fifty years, and the house was packed. My mom hated throwing anything away. All the clothes, the photos, the letters and things that had meaning to them. The only thing I took were boxes of photos and some films my dad shot. I think it helped with the grieving process, looking at all that stuff. Read More
June 12, 2015 On the Shelf Still Flaming After All These Years, and Other News By Dan Piepenbring Frederic Lord Leighton, Flaming June, 1830–1896. Everyone holds up Anna Karenina as a milestone for realism—“We are not to take Anna Karénine as a work of art; we are to take it as a piece of life,” Matthew Arnold wrote—but Janet Malcolm raises an eyebrow at all that. “The book’s ‘astonishing immediacy’ is nothing if not an object of the exaggeration, distortion, and dissimulation through which each scene is rendered … If the dream is father to imaginative literature, Tolstoy may be the novelist who most closely hews to its deep structures.” Now at the Frick Collection: Frederic Leighton’s Flaming June, an iconic Victorian painting whose subject’s well-developed right thigh set the world on fire. “The beautiful woman asleep in some archaic past was a recurrent motif in Victorian art … The figure of the languid woman is more than just an object of erotic desire. She’s the opposite of the rationalist, ever-striving, murderously competitive spirit—once conventionally thought of as distinctively masculine. She embodies a yearning to relax, to retire from the fray and take pleasure in just being alive.” Jenny Diski is dying of lung cancer, and facing the illness the only way she knows how: in prose. “A marvel of steady and dispassionate self-revelation, Diski’s cancer essays are bracingly devoid of sententiousness, sentimentality or any kind of spiritual urge or twitch … they also testify to an inner life of undiminished hyperactivity.” Nesh, gloaming, cochineal, swamm, clart: writers pick their favorite words. “The chosen words are mostly regional, often monosyllabic, and frequently richly onomatopoeic: the natural poetry of the heterogeneous English-speaking tongue.” In which Orson Welles dabbles in pornography: in a pro-bono gig for the picture 3 A. M., the filmmaker “wound up editing a hard-core lesbian shower scene that he couldn’t resist cutting in Wellesian fashion with low camera angles and other trademark flair.”
June 11, 2015 Our Daily Correspondent Party of One By Sadie Stein Not long ago, I picked up a fifty-cent copy of Sally Quinn’s The Party: A Guide to Adventurous Entertaining from a street vendor. I was interested enough by the beltway gossip and tales of DC hostesses and the faint whiff of notoriety that still emanates from its pages almost twenty years later. I learned the term Philadelphia Rat Fuck, thereafter referred to by the author as “a P.R.F.” And I do love an entertaining guide: say the words pink lightbulbs and I’m there. (I’ve been slavishly conjuring their flattering glow since I first read the tip in a 1980s copy of Sunset.) But ultimately, what intrigued me most about the book were the previous owner’s underlines. Any scholar will tell you marginalia are the true window of the soul—or brain, at any rate. (Even if it’s just a window into your own immaturity via passionate collegiate commentary on bell hooks.) Jottings, doodles, highlights: there’s a reason between the lines is a cliché. It’s revealing. Read More