{"id":109997,"date":"2017-04-18T08:42:13","date_gmt":"2017-04-18T12:42:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109997"},"modified":"2017-04-18T11:01:45","modified_gmt":"2017-04-18T15:01:45","slug":"the-art-of-the-lobotomy-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/","title":{"rendered":"The Art of the Lobotomy, and Other News"},"content":{"rendered":"<div id=\"attachment_109998\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109998\" class=\"wp-image-109998\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy.jpg\" width=\"1000\" height=\"741\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy.jpg 1149w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy-300x222.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy-768x569.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy-1024x758.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109998\" class=\"wp-caption-text\">Yikes.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Happy National Lobotomy Day! Take a moment to reflect on the pioneers of this innovative, deeply disturbing procedure, which proudly lives on in our nightmares, where it continues to stain the reputation of psychiatry. Clyde Haberman recalls one Dr. Walter J. Freeman, who helped popularize everyone\u2019s favorite brutally efficient surgery in the mid-twentieth century. (He even gave a lobotomy to a Kennedy once.) Haberman writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/04\/16\/us\/psychiatric-illnesses-lobotomy-controversial-surgery.html?hp&amp;action=click&amp;pgtype=Homepage&amp;clickSource=story-heading&amp;module=photo-spot-region&amp;region=top-news&amp;WT.nav=top-news&amp;_r=1&amp;mtrref=getpocket.com&amp;gwh=C21F222C9F1AC47FE019284B9CF83895&amp;gwt=pay\" target=\"_blank\">Freeman, who died in 1972, presided over an estimated 3,500 lobotomies from 1936 to 1967<\/a>. Early on, the actual cutting was done by his neurosurgeon partner, Dr. James W. Watts. He sawed two holes in the skull and, with a device called a leucotome, lopped off cells in the brain\u2019s frontal lobes. The partnership dissolved a decade later when Dr. Freeman embraced a procedure called a transorbital lobotomy. It was not for the squeamish. Dr. Freeman would insert a tool resembling an ice pick beneath each eyelid, hammer it into the patient\u2019s brain through the eye socket, and maneuver it to cut away frontal lobe cells believed to be trouble spots \u2026 Dr. Freeman set out on his own, performing hundreds upon hundreds of what, unsurprisingly, came to be known as ice pick lobotomies. He delighted in a craft that critics deemed reckless. Part showman, he even barnstormed the country. In one twelve-day period, he operated on 225 people during a swing through West Virginia.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Doreen St. F\u00e9lix profiles Kara Walker, whose 2014 work <em>A Subtlety, or the Marvelous Sugar Baby<\/em>, \u201ca chimera of unvarnished American desires,\u201d was the largest piece of public art ever to appear in New York City. Now Walker has her sights on something new, St. F\u00e9lix writes: \u201c<a href=\"http:\/\/www.vulture.com\/2017\/04\/kara-walker-after-a-subtlety.html\" target=\"_blank\">It\u2019s been nearly three years since the Sphinx, and Walker has spent the time interrogating what it means to make monumental and\u00a0political art\u2014representational or abstract\u2014on the terrain, sites, and buildings in which the lives of black people have been compromised in some way<\/a>. That is, how to exhume the traumas and delights of an environment rather than fabricating scenes out of black paper\u2014and how to guide the problem of how people look. \u2018I am still wrestling with my relationship to what my art might do in the public space,\u2019 she says. \u2018How I can control it\u2019 \u2026 She sometimes refers to herself as a \u2018Negress of noteworthy talent,\u2019 a reference to the slave girl-child character Hilton Als once identified as the \u2018saint figure\u2019 of her compositions. She looks to the languid narrators of Southern novels like\u00a0<em>Gone with the Wind\u00a0<\/em>for the flamboyance and piquancy of her drawings. To Walker, art is description, not advertisement.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Meghan O\u2019Rourke studies the poetry, and the suffering, that connected Elizabeth Bishop and Robert Lowell, and their distinct ways of coping with emotional hardship; where Lowell let it all seep onto the page, Bishop was less inclined to expose her pain: \u201c<a href=\"https:\/\/www.theatlantic.com\/magazine\/archive\/2017\/05\/tragic-muses\/521418\/\" target=\"_blank\">As she wrestled with autobiographical matter that threatened to overwhelm her\u2014her mother\u2019s insanity, the suicide of her long-term partner Lota de Macedo Soares\u2014she kept a disciplined aesthetic distance, striving at the same time for emotional lucidity<\/a>. Bishop believed that poetry derived power from reticence (she once referred to \u2018disasters, etc.\u2019 in a letter to a lover). Interviewed about Lowell and the confessional movement by\u00a0<em>Time\u00a0<\/em>magazine in 1967, she tried to justify confessional poetry\u2019s blunt approach to traumatic revelation, noting that in a sense, \u2018the worst moments of horrible and terrifying lives are an allegory of the world\u2019 \u2026 She couldn\u2019t help adding that \u2018the tendency is to overdo the morbidity. You just wish they\u2019d keep some of these things to themselves.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Today in effective and unconventional father-son bonding: Daniel Mendelsohn\u2019s octogenarian dad joined his classroom for a course on the<em>\u00a0Odyssey<\/em>. Then the two of them set sail for a ten-day cruise that celebrated Odysseus: \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/04\/24\/a-father-and-sons-final-odyssey\" target=\"_blank\">The itinerary, we read, would follow the mythic hero Odysseus\u2019 convoluted, decade-long journey as he made his way home from the Trojan War, plagued by shipwrecks and monsters<\/a>. It would begin at Troy, the site of which is in present-day Turkey, and end on Ithaki, a small island in the Ionian Sea which purports to be Ithaca, the place Odysseus called home. \u2018Journey of Odysseus\u2019 was an \u2018educational\u2019 cruise, and my father, although contemptuous of anything that struck him as being a needless luxury, was a great believer in education. And so, a few weeks later, in June, fresh from our recent immersion in the text of the Homeric epic, we took the cruise, which lasted ten days, one for each year of Odysseus\u2019 long journey \u2026 \u2018The poem feels more real!\u2019 he\u2019d say each evening, as people discussed the day\u2019s activities. When he did so, he\u2019d cast a quick sidelong glance at me, knowing how much the thought pleased me.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In the late eighties, Prince commissioned the architect Bret Thoeny to help him design Paisley Park, his sprawling residence, business center, recording studio, and soundstage in Chanhassen, Minnesota. Rina Raphael talked to Thoeny about it: \u201c <a href=\"https:\/\/www.fastcompany.com\/40405150\/love-is-the-color-how-paisley-park-fostered-princes-creativity\">\u2018<\/a><a href=\"https:\/\/www.fastcompany.com\/40405150\/love-is-the-color-how-paisley-park-fostered-princes-creativity\" target=\"_blank\">Artists weren\u2019t doing this,\u2019 stresses Theony<\/a>. \u2018It was forward thinking, [this idea] of combining everything under one roof. It had never been done by an artist\u2019 \u2026 Prince didn\u2019t want to look at blueprints. Such documents didn\u2019t help him imagine the end product. Instead, Thoeny was required to make a scale miniature model of all of Paisley Park. \u2018I would show him in 3-D, and he really got into it\u2014looking inside the little rooms and making suggestions,\u2019 Thoeny recounts \u2026 \u2018He wanted pyramids,\u2019 says Thoeny, who positioned one in front and one by the living-quarters suite in the middle. The latter would light up in a soft violet glow whenever Prince was in residence, much like the Queen\u2019s flag at Buckingham Palace. He also preferred that the structure be mostly windowless to protect his privacy and to limit sunlight.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: remembering the horror show that was the lobotomy; Kara Walker\u2019s vision for public art; and more.<\/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":[28399,1657,35,9241,28400,28401,12582,28398,629,2682,10425,28397,12583,14643,630,2683],"class_list":["post-109997","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-a-subtlety","tag-architecture","tag-art","tag-artists","tag-bonding","tag-bret-theony","tag-doctors","tag-dr-walter-j-freeman","tag-elizabeth-bishop","tag-homer","tag-kara-walker","tag-lobotomies","tag-psychiatry","tag-public-art","tag-robert-lowell","tag-the-odyssey"],"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>The Life and Times of a Master Lobotomist<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: remembering the horror show that was the lobotomy; Kara Walker\u2019s vision for public art; a Homeric cruise ship; and more.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Art of the Lobotomy, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"April 18, 2017 \u2013 In today\u2019s roundup: remembering the horror show that was the lobotomy; Kara Walker\u2019s vision for public art; and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-04-18T12:42:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-04-18T15:01:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1149\" \/>\n\t<meta property=\"og:image:height\" content=\"851\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"The Art of the Lobotomy, and Other News\",\"datePublished\":\"2017-04-18T12:42:13+00:00\",\"dateModified\":\"2017-04-18T15:01:45+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/\"},\"wordCount\":994,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/18\/the-art-of-the-lobotomy-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/lobotomy.jpg\",\"keywords\":[\"A Subtlety\",\"architecture\",\"art\",\"artists\",\"bonding\",\"Bret Theony\",\"doctors\",\"Dr. Walter J. 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