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- It’s back! The architectural movement you’ve been craving—with the ethics you can’t live without! It’s social democracy in building form! It’s an expression of the human desire to achieve! It’s Brutalism! Nikil Saval writes, “Despite two generations of abuse (and perhaps a little because of it), an enthusiasm for Brutalist buildings beyond the febrile, narrow precincts of architecture criticism has begun to take hold. Preservationists clamor for their survival, historians laud their ethical origins and an independent public has found beauty in their rawness. For an aesthetic once praised for its ‘ruthless logic’ and ‘bloody-mindedness’—in the much-quoted phrasing of critic Reyner Banham—it is a surprising turn of events … In countries still reeling from the worldwide financial crisis, it’s a solace to look back to an era of muscular, public-minded development.”
- Henry Green’s novels are being reissued, and you should read them as soon as you can. Don’t even finish reading this post. Just get up and go buy them and read them. I’ll be here. If you’re not inclined to do what I tell you just because I told you to do it, Leo Robson can convince you more elegantly: “Green believed that well-groomed, well-behaved English was an obstacle to expression. But his style wasn’t a merely negative exercise, a winnowing or clearing out: he delivered a gorgeous, full-bodied alternative. The Henry Green novel—typically portraying failures of love and understanding, and noisy with the vernacular of industrialists and Cockneys, landowners and servants—was terse, intimate, full of accident and unnerving comedy, exquisite though still exuberant, sensual and whimsical, reflexively figurative yet always surprising, preoccupied with social nuance, generational discord, and sensory phenomena while maintaining an air of abstraction, as reflected in those flighty gerund titles.”
On the shortlist for this year’s Man Booker Prize are two of The Paris Review’s Plimpton Prize winners, Ottessa Moshfegh and David Szalay. Szalay is nominated for his novel All That Man Is, two sections of which first appeared in the Review: “Youth” and “Lascia Amor E Siegui Marte.” In our last issue, he talked to our editor, Lorin Stein, about writing All That Man Is. The two will convene again for a discussion at McNally Jackson Books on Friday, October 14.
Moshfegh, nominated for her novel Eileen, has published seven short stories in the Review: “Disgust,” from our Fall 2012 issue; “Bettering Myself,” from Spring 2013; “The Weirdos,” from Fall 2013; “A Dark and Winding Road,” from Winter 2013; “Slumming,” from Winter 2014; “No Place for Good People,” from Summer 2014; and “Dancing in the Moonlight,” from Fall 2015.
And Paul Beatty, whose novel The Sellout made the shortlist, discussed the book at length in an interview last year with the Daily.
Meanwhile, the National Book Awards have announced this year’s poetry longlist, and here, too, the Review is well represented: Peter Gizzi has three poems in our Spring 2015 issue and Monica Youn’s “Goldacre” appeared in our Summer 2016 issue; for the Daily, Youn wrote about what she refers to as “my Twinkie poem.” Solmaz Sharif spoke to the Daily this summer about her collection, Look. Finally, our poetry editor from 1953 to 1961, Donald Hall, has been nominated for his Selected Poems.
Our congratulations to all the nominees!
Chekhov, Thomas Mann, and the longueurs of vacationing.
After a proposal from a rich but ridiculous suitor, Tony Buddenbrook, the high-society heroine of Thomas Mann’s first novel, leaves the German city of Lübeck for Travemünde, a resort town where the Trave River meets the Baltic Sea. “I won’t pay any attention to the social whirl at the spa,” she tells her brother Tom. “I know all that quite well enough already.” Tony stays instead in the modest home of her father’s friend the harbor pilot, whose son, a medical student named Morten Schwarzkopf, is also on vacation. On her first day, he accompanies Tony to the spa, and she invites him to meet the friends she had pledged to avoid. “I don’t think I’d fit in very well,” Morten says. “I’ll just go sit back there on those stones.”
By the end of the summer, Tony and Morten have fallen in love, and “on the stones” is a “fixed phrase” in their relationship, Mann writes, meaning “to be lonely and bored.” I visited Travemünde recently and after a few hours felt rather on the stones myself. The Baltic Sea was impotent at raising waves, and an incontinent gray sky drizzled on the city. The riverside homes along the Front Row, where the harbor pilot lived, are now tourist shops and restaurants filled with old German couples not talking to each other. The other nineteenth-century landmarks of Tony and Morten’s romance haven’t aged much better. The Sea Temple, a waterfront gazebo where they sit so close their hands nearly touch, fell into the Baltic in 1872, drowning with it the records of young lovers who scratched their initials on the walls. Read More
In our Fall 1983 issue, The Paris Review published twenty years’ worth of Zelda Fitzgerald’s letters to her husband, Scott. This selection comprises her correspondence between the spring of 1919 and Easter Sunday, 1920, the day Zelda and Scott married. Zelda Fitzgerald was born this month in 1900. Note: Zelda was known for her quirks in punctuation (she was a particularly fond of the em dash), and these are retained in the text. As in the original printing, asterisks denote substantial editorial deletions and ellipses are used to indicate minor omissions. Each letter is addressed to Scott Fitzgerald. —C.L.
Mrs. Francesca—who never heard of you—got a message from Ouija for me. Nobody’s hands were on it—but hers—and it told us to be married—that we were soul-mates. Theosophists think that two souls are incarnated together—not necessarily at the same time, but are mated—since the time when people were bisexual; so you see “soul-mate” isn’t exactly snappy-stylish; after all: I can’t get messages but it really worked for me last night—only it couldn’t say anything, but “dead,”—so, of course I got scared and quit. It’s really most remarkable, even if you do scoff. I wish you wouldn’t, it’s so easy, and believing is much more intelligent. Read More
Édouard Louis, born in 1992, grew up in Hallencourt, a village in the north of France where many live below the poverty line. Now his account of life in that village, written when he was nineteen, has ignited a debate on class and inequality, foisting Louis into the center of French literary life.
En finir avec Eddy Bellegueule (Finishing off Eddy Bellegueule) is unsparing in its descriptions of the homophobia, alcoholism, and racism that animated Louis’s youth in Hallencourt. “We thought the book would be as invisible as the people it describes,” said Louis, who rejects any romantic views of the “authenticity” of working-class life. His publisher thought the first edition, two thousand copies, would last years. But hundreds of thousands of copies have sold in France, and the book is being translated into more than twenty languages. The novel, which has earned Louis comparisons to Zola, Genet, and de Beauvoir, is set to appear in English later this year.
Eddy Bellegueule can be read as a straightforward coming-of-age story, but beneath its narrative is an almost systematic examination of the norms and habits of the villagers—inspired, Louis has said, by the theories of the French sociologist Pierre Bourdieu. It’s as if he’s taken the whole place and put it behind glass—like observing the inner workings of an anthill.
Who is Eddy Bellegueule, and why do you want to finish him off?
Eddy Bellegueule is the name my parents gave me when I was born. It sounds dramatic, but yes, I wanted to kill him—he wasn’t me, he was the name of a childhood I hated. The book shows how—before I revolted against my childhood, my social class, my family, and, finally, my name—it was my milieu that revolted against me. My father and my brothers wanted to finish off Eddy Bellegueule long before, at a time when I was still trying to save him. Read More