{"id":67401,"date":"2014-02-28T18:00:35","date_gmt":"2014-02-28T23:00:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=67401"},"modified":"2014-02-28T17:46:04","modified_gmt":"2014-02-28T22:46:04","slug":"what-were-loving-science-spicer-sea-maidens-sandwiches","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/02\/28\/what-were-loving-science-spicer-sea-maidens-sandwiches\/","title":{"rendered":"What We\u2019re Loving: Science, Spicer, Sea Maidens, Sandwiches"},"content":{"rendered":"
\"4_The_Scientists\"<\/a>

Rita Greer, The Scientists<\/i>, 2007<\/p><\/div>\n

The Haggis-on-Whey World of Unbelievable Brilliance<\/i> is McSweeney\u2019s hilarious series of faux-science books. The latest volume, \u201cChildren and the Tundra<\/a>,\u201d is due out in May; it includes such edifying features as \u201cQuick Fixes for the Growing Epidemic of Talking Child Syndrome,\u201d \u201cSnow Druids: Fact and Fiction,\u201d and \u201cComparing Snow with Presidents Past and Present.\u201d (Snow and Zachary Taylor share the following attributes: cold, white, usually on the ground.) In its tone and design, to say nothing of the sturdiness of its typefaces, Haggis-on-Whey<\/i> nails the authoritarian aesthetic of 1950s textbooks. Most important, it is very, very silly. \u2014Dan Piepenbring<\/b><\/p>\n

Wordsworth looked forward to a day when poets would \u201cbe ready to follow the steps of the man of Science \u2026 carrying sensation into the midst of the objects of Science itself.\u201d Alfonso D\u2019Aquino is one such poet of sensation and science. Fungus skull eye wing<\/a><\/i>, his first collection available in English, is dense with the tropical life of Cuernavaca: root systems, veins of mineral, tangles of foliage. Some of the poems are spookily nonhuman; in others, even the stones seem to speak: \u201cI squint fixedly \/ and find \/ in this marvelous density in the hollow of my hand \/ in its livid insomniac paleness \/ and in its veins dialogues \/ that only for a moment crisscross.\u201d Forrest Gander\u2019s translation is another marvel. \u2014Robyn Creswell<\/b><\/p>\n

You could easily teach a whole seminar on Denis Johnson\u2019s \u201cThe Largesse of the Sea Maiden<\/a>\u201d (in this week\u2019s New Yorker<\/i>). You could prepare students by assigning them \u201cWhat We Talk About When We Talk About Love\u201d and \u201cThe Dead,\u201d which seem to me a sort of North and South Pole to Johnson\u2019s story, and shape its beginning and end. Then you could have students compare the two paintings in the story, and the two newspapers called the\u00a0Post,\u00a0<\/i>and the names Elaine and Maria Elena, and you could let those comparisons lead you into the narrator\u2019s habits of mind. Or else you could spend a whole semester reading Denis Johnson, trying to pinpoint the quality of his prose that makes him sound both matter-of-fact and possessed. Or you could dismiss class and send everyone home to read the story again and stare at the wall, because \u201cThe Largesse of the Sea Maiden\u201d is great and the questions it raises\u2014like, What difference would it make if Whit could say he loved his wife, or that his daughters were beautiful or clever; or, What kind of fairytale is<\/i> this\u2014are too big for an English seminar to answer. \u2014Lorin Stein<\/b><\/p>\n

In Seattle, this year\u2019s AWP is off to a rollicking start: picture 15,000 writers and all their attendant neuroses in one sprawling conference center. Madness! Luckily, no one bats an eye if you take a break to read some newly published poetry; that is, after all, what this thing is about. My first AWP purchase was Caroline Manring\u2019s Manual for Extinction<\/a><\/i>, which soothes the overstimulated soul with its lyrical surrealism and extraordinary formal experimentation. And of course one cannot help but see the mass of writers reflected:\u00a0 \u201cWhen we are arranged by crop \/\/ you can see we are a toothy, \/ forever naked, rag-tag lot.\u201d \u2014Rachel Abramowitz<\/b> <\/p>\n

I\u2019m jumping on the bandwagon to recommend Silence Once Begun<\/i><\/a>, the fourth novel by Jesse Ball (a past winner of the Plimpton Prize). There\u2019s much to admire in the strangeness and precision of the images, interviews, and text that comprise the book: it\u2019s narrated by a journalist, also named Jesse Ball, who is investigating the Narito Disappearances of 1977, that is, the silent disappearance of eight Japanese men and women from their homes. With its slinking, fragmented structure and its detective work, the novel reminds me of everything from The Wire<\/i> to The Hamilton Case<\/i> by Michelle De Kretser, and of Laurent Binet\u2019s metahistorical novel, HHhH<\/i>. But mostly, it reminds me of nothing else I\u2019ve read before. \u2014Anna Heyward<\/b><\/p>\n

Jack Spicer is a provocateur; he writes poems that seem to come from someone indelibly wounded. He is capable of profound tenderness, too\u2014in his Collected Poems<\/i><\/a> <\/i>you can read hundreds of his lines where his voice is violent, cruel, attacking, and then come to \u201cTell everyone to have guts \/ Do it yourself \/ Have guts until the guts \/ Come through the margins \/ Clear and pure like love is.\u201d Spicer was always hunting something. This collection is titled My Vocabulary Did This to Me<\/i>; those were supposedly his dying words. In a poem about Babel, he writes: \u201cIt wasn\u2019t the tower at all \/ it was our words he hated.\u201d \u2014Zack Newick<\/b><\/p>\n

Like Rachel, I\u2019m in Seattle for AWP\u2014my first time here in fifteen years. After a blur of connecting flights, wrong train lines, and book-fair booths, the only thing I needed was a good sandwich. Luckily, I found my way to Bakeman\u2019s<\/a>\u2014down a flight of stairs on a sleepy side street, with a sign heralding the best turkey and meatloaf sandwiches in the city. I knew I was in the right place. The sandwich, roasted turkey with a twenty-five cent addition of cranberry sauce, hit the spot, but the real standout was the big slice of blueberry pie, which made me feel right at home in a distant city. \u2014Justin Alvarez<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

The Haggis-on-Whey World of Unbelievable Brilliance is McSweeney\u2019s hilarious series of faux-science books. 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