{"id":104389,"date":"2016-11-01T08:42:34","date_gmt":"2016-11-01T12:42:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=104389"},"modified":"2016-11-01T11:51:26","modified_gmt":"2016-11-01T15:51:26","slug":"never-late-mock-nixon-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/11\/01\/never-late-mock-nixon-news\/","title":{"rendered":"It\u2019s Never Too Late to Mock Nixon, and Other News"},"content":{"rendered":"<div id=\"attachment_104391\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/poorrichard.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-104391\" class=\"wp-image-104391 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/poorrichard.jpg\" width=\"600\" height=\"459\" \/><\/a><p id=\"caption-attachment-104391\" class=\"wp-caption-text\">Philip Guston, <i>Untitled (Poor Richard)<\/i>, 1971, ink on paper, 10 1\/2&#8243; x 13 7\/8&#8243;. \u00a9 The Estate of Philip Guston, courtesy Hauser &amp; Wirth.<\/p><\/div>\n<ul>\n<li>\u201cI do nothing professionally, I do everything for fun,\u201d Prince\u2019s character Christopher Tracy says in the serially overlooked <em>Under the Cherry Moon<\/em>. It\u2019s a line that seems to unlock some of his mystique\u2014his spontaneity, or, as Zadie Smith writes, the constant sense of mirage surrounding him onstage: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2016\/oct\/29\/zadie-smith-what-beyonce-taught-me\" target=\"_blank\">Prince\u2019s moves, no matter how many times you may have observed them, have no firm inscription in memory<\/a>; they never seem quite fixed or preserved. If someone asks you to dance like Prince, what will you do? Spin, possibly, and do the splits, if you\u2019re able. But there won\u2019t appear to be anything especially Prince-like about that. It\u2019s mysterious. How can you dance and dance, in front of millions of people, for years, and still seem like a secret only I know? (And isn\u2019t it the case that to be a Prince fan is to feel that Prince was your secret alone?) \u2026 His shows were illegible, private, like the performance of a man in the middle of a room at a house party. It was the greatest thing you ever saw and yet its greatness was confined to the moment in which it was happening.\u201d<\/li>\n<\/ul>\n<ul>\n<li>When I\u2019m feeling down, really down, about my potential as a shaggy creative type, I find it helps to make fun of Richard Nixon. It\u2019s helped countless writers and artists, among them the Philips Guston and Roth, who met in Woodstock in the summer of \u201971 and discovered a mutual muse in our esteemed thirty-seventh president. Charles McGrath writes, \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/10\/31\/arts\/design\/philip-guston-and-his-barbed-pen-nixon-years.html\" target=\"_blank\">The two men shared a love of books and of what Guston called \u2018crapola\u2019<\/a>\u2014billboards, diners, junk shops, burger joints\u2014and Richard M. Nixon was soon added to the list \u2026 Mr. Roth began working on what became <em>Our Gang<\/em>,\u00a0his book-length satire, which begins with the president, Trick E. Dixon, hoping to give the vote to the unborn and ends with him in hell, after being assassinated in a hospital where he had gone to have his sweat glands removed \u2026 Mr. Roth showed some early chapters to Guston, who in a mood of shared Nixon-loathing exuberance, responded with a flood of satirical drawings. In a couple of them Guston\u2019s Nixon is a hooded Klansman conspiring with his cronies Spiro T. Agnew and John Mitchell, but in most he is a kind of walking gonad, his nose a penis that grows longer with every lie he tells.\u201d\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>The notion of toxic masculinity is gaining traction, especially as men continue to behave prominently and repeatedly like total shitheads. A raft of new books aim to diagnose the problem. Do any of them get it right? Steven Poole writes, \u201c<a href=\"http:\/\/www.newstatesman.com\/culture\/books\/2016\/10\/sometimes-its-hard-be-man-especially-if-you-overthink-it\" target=\"_blank\">There are many ways to be a man, and\u2014despite the golden-age hunter-gatherer guff endorsed in some of these books\u2014there always have been<\/a> \u2026 The idea of masculinity or manliness has been conceived as under threat and in crisis ever since it first appeared. Surely it would be more civilized to adopt the attitude of that pioneering feminist, Plato, who describes Socrates explaining why women, like men,\u00a0can be guardians of his republic. Yes, they are on the whole physically weaker, but in all other respects they are people, and all traits are found in varying combinations in people of either sex: \u2018The natural capacities are distributed alike among both creatures, and women naturally share in all pursuits and men in all.\u2019\u00a0Because it reinforces the idea of male exceptionalism, on the other hand, the notion that there is a crisis of masculinity is just another sexist meme that shores up the patriarchy. And, like the patriarchy itself, it harms men as well as women. Maybe a real man is one who never gives any thought to his masculinity at all.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Elena Ferrante is still reeling from <em>Madame Bovary<\/em>: \u201c<em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/what-an-ugly-child-she-is\">Madame Bovary <\/a><\/em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/what-an-ugly-child-she-is\" target=\"_blank\">struck with swift punches, leaving bruises that haven\u2019t faded<\/a>. All my life since then, I\u2019ve wondered whether my mother, at least once, with Emma\u2019s words precisely\u2014the same terrible words\u2014thought, looking at me, as Emma does with Berthe:\u00a0<em>C\u2019est une chose \u00e9trange comme cette enfant est laide!\u00a0<\/em>(\u2018It\u2019s strange how ugly this child is\u2019). Ugly: to appear ugly to one\u2019s own mother. I have rarely read-heard a better conceived, better written, more unbearable sentence. The sentence arrived from France and hit me right in the chest, it\u2019s still hitting me, harder than the shove with which Emma sent\u2014sends\u2014little Berthe against the chest of drawers, against the brass fittings.\u201d<\/li>\n<\/ul>\n<ul>\n<li>John Berger, now ninety, does some wonderful things with a seafaring metaphor in a profile by Kate Kellaway: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2016\/oct\/30\/john-berger-at-90-interview-storyteller\" target=\"_blank\">Berger is as interested as ever in ways of seeing; that he still has the ability to give himself the slip, to turn perception into an out-of-body experience<\/a> \u2026 His eye for detail remains unrivalled and consistently surprising (think of his irresistible observation that cows walk as if they were wearing high heels). Reading him is like standing at a window\u2014perhaps a bit like the window of this study\u2014with no one blocking the view. \u2018The way I observe comes naturally to me as a curious person\u2014I\u2019m like\u00a0<em>la vigie<\/em>\u2014the lookout guy on a boat who does small jobs, maybe such as shoveling stuff into a boiler, but I\u2019m no navigator\u2014absolutely the opposite. I wander around the boat, find odd places\u2014the masts, the gunwale\u2014and then simply look out at the ocean. Being aware of traveling has nothing to do with being a navigator.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>\u201cI do nothing professionally, I do everything for fun,\u201d Prince\u2019s character Christopher Tracy says in the serially overlooked Under the Cherry Moon. It\u2019s a line that seems to unlock some of his mystique\u2014his spontaneity, or, as Zadie Smith writes, the constant sense of mirage surrounding him onstage: \u201cPrince\u2019s moves, no matter how many times you [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[55,13206,870,573,868,25479,12612,1758,14233,99,5862,1329,6850,25477,25478,1079],"class_list":["post-104389","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-dance","tag-elena-ferrante","tag-gustave-flaubert","tag-john-berger","tag-madame-bovary","tag-manhood","tag-masculinity","tag-performance","tag-philip-guston","tag-philip-roth","tag-plato","tag-prince","tag-richard-nixon","tag-under-the-cherry-moon","tag-woodstock","tag-zadie-smith"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How Did Philip Guston Find Inspiration? 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