“The Art of Whipped Cream,” an exhibition of drawings, sketches and paintings by Mark Ryden, is at Paul Kasmin Gallery through July 21. Ryden created this work for the American Ballet Theatre’s production of Whipped Cream, an adaptation of a 1924 Richard Strauss ballet about a boy who eats too much candy and, in the delirium of a world-class sugar high, dreams that his dessert has come to life. Ryden designed props, costumes, and backdrops for the production, combining sugary pinks and pastels with a darker palette of grays and neutrals. The result: a candy land that threatens to become sickeningly sweet.
Today I happened to pass one of my favorite spots, Myzel’s Chocolates—a small, idiosyncratic shop in midtown Manhattan, with a world of confections. For the licorice lover—that strange, fierce, embattled tribe—the store is a must. Myzel’s has the best licorice selection in the city: salty, sweet, terrier-shaped, boat-shaped, cute, creepy, hard, soft. “Licorice of the world,” they advertise. “Over a hundred different kinds.” And today a sign in front of the door read: NATIONAL LICORICE WEEK. Read More
My brother was one of those kids who loved camp. He started young, went for years, and, when he was older, returned as a counselor. During the school year, he and his friends would periodically meet up at an Outback Steakhouse in Midtown. He still attends the weddings of those friends.
There was one kid in his bunk who was the camp outcast: a physically uncoordinated know-it-all who, in the grand tradition of nerds, managed to maintain an inviolate sense of wounded superiority. His response, when taunted, was to say—with an irony that was surely intended to be devastating—“You’re so kind.” You can imagine how effective this was.
I guess my brother was nice to him, in an offhand sort of way. Maybe he just wasn’t actively cruel. All I know is, when we went up there on family visiting day, this kid wouldn’t leave him alone. Mostly he stood around, nearby. But several times he appeared at my brother’s shoulder and held out a hand, silently proffering candy: Airheads, Pop Rocks, those long, flat Jolly Ranchers. While I found the whole thing kind of weird, my brother seemed to take it as his due. Read More
The feast of Saint Valentine approaches. Chain pharmacies across the land are hawking impossibly bright conversation hearts and Russell Stover samplers, full of unwanted marzipan. Given such lackluster options, you’re probably wondering: What should you give your sweetheart?
We humbly aver that our print by Donald Baechler, with its honeyed candy, is the most compelling Valentine’s Day gift around. It’s better than songs about candy, better than overexposed Ogden Nash quotations about candy, and, dare we say, better than candy itself. It’s nonperishable, for one thing. It’s also extremely good-looking—as is your sweetheart, presumably.
Since 1964, The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review.
Donald Baechler’s print, from 2012, is available for purchase here. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review. And yes, we will be your valentine.
I devoutly hope there is an academic somewhere writing a serious essay about the role of anthropomorphic comestibles in Depression-era cartoons. I am no authority, but it seems pretty clear to me that, besides the obvious economic implications, all this humanized food has a great deal to do with gender norms, and attitudes toward food, and probably class, too. Disney’s 1935 Silly Symphony “The Cookie Carnival” would have to be the centerpiece of any such argument.
“The Cookie Carnival” is a Cinderella story that focuses on a sort of proto–Miss America boardwalk parade in which various confections compete for the title of “Cookie Queen.” In describing the plot, I can do no better than Wikipedia, which undertakes the task with commendable thoroughness:
Various sweets and goodies of Cookietown are preparing to crown their new Cookie Queen. A parade of potential candidates passes by, all based on various cakes and sweets. Far from the parade route, on what would appear to be the wrong side of the peppermint stick railroad tracks, a gingerbread drifter overhears an impoverished sugar cookie girl crying. Upon hearing that she cannot enter the parade because she hasn’t any pretty clothes, he hurries to remedy this, concocting a dress of colored frosting and candy hearts. He covers her brown hair with golden taffy ringlets and adds a large violet bow to her dress as a finishing touch. Thus attired, she is entered as the final contestant in the parade: Miss Bonbon. Read More
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