{"id":88740,"date":"2015-08-12T08:55:01","date_gmt":"2015-08-12T12:55:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88740"},"modified":"2015-08-12T10:41:18","modified_gmt":"2015-08-12T14:41:18","slug":"as-american-as-april-in-arizona-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/08\/12\/as-american-as-april-in-arizona-and-other-news\/","title":{"rendered":"As American as April in Arizona, and Other News"},"content":{"rendered":"<div id=\"attachment_88742\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/vladimir_nabokov_1969.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-88742\" class=\"wp-image-88742\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/vladimir_nabokov_1969.jpg\" alt=\"\" width=\"600\" height=\"453\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/vladimir_nabokov_1969.jpg 677w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/vladimir_nabokov_1969-300x226.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-88742\" class=\"wp-caption-text\">Nabokov in 1969. Photo: Giuseppe Pino<\/p><\/div>\n<ul>\n<li>For three years, Barton Swaim worked as a speechwriter for Mark Sanford, the maligned former governor of South Carolina. His book, <em>The Speechwriter<\/em>, suggests that Sanford\u2019s grammar was as wanting as his ethics: \u201cNearly every page of this book is wet with the tears of a pedant. At their first meeting, Sanford interrupts Swaim to ask <a href=\"http:\/\/www.spectator.co.uk\/books\/9599352\/the-best-american-political-memoir-in-a-generation\/\" target=\"_blank\">whether it is appropriate to begin a sentence with a preposition<\/a>. Swaim suggests that he must mean a conjunction, in which case it is a silly non-rule that no good writer has ever observed. Sanford is unconvinced: \u2018There\u2019s a rule against beginning a sentence with a prepositions [sic]\u2014conjunctions, whatever\u2014and you can\u2019t break rules.\u2019 Determined to keep the boss happy, Swaim dutifully tries to remove \u2018yet\u2019 from a speech a few weeks later, only to be rebuffed by a colleague who assures him that Sanford \u2018doesn\u2019t know \u201cyet\u201d is a conjunction\u2019.\u201d<\/li>\n<li>When Nabokov came to America, his whole style underwent a transformation, and he took pains to emphasize his Americanness; he said once that he was \u201cas American as April in Arizona.\u201d \u201c<a href=\"http:\/\/www.literaryreview.co.uk\/sansom_08_15.php\" target=\"_blank\">Nabokov turned himself into a more purely American writer than many others have so far acknowledged<\/a> \u2026 But the questions remain. Where did Nabokov really develop what Kingsley Amis, in a brilliant review of <em>Lolita<\/em> in <em>The Spectator<\/em>, called his \u2018Charles Atlas muscle-man\u2019 style of writing? Was it in St Petersburg or on an American campus? On the family estate back home in Russia or in the lonely motel rooms he and V\u00e9ra liked to stay in on their long summer tours of the Rockies and the Southern states? Are literary audacity and effrontery really echt American or are they the products of aristocratic disdain?\u201d<\/li>\n<li>Somewhere deep in the annals of facial-hair scholarship you\u2019ll find T. S. Gowing\u2019s <em>The Philosophy of Beards<\/em>, a treatise from 1875 or thereabouts that makes <a href=\"http:\/\/blog.wellcomelibrary.org\/2015\/08\/the-philosophy-of-beards\/\" target=\"_blank\">a series of dubious aesthetic and functional arguments for bearding<\/a>: \u201c\u2018The beards of foreign smiths and masons,\u2019 he remarks, \u2018filter plaster dust and metal from the air, protecting the lungs.\u2019 Bearded soldiers, he claims, are less likely to catch colds; and the ability of a moustache to warm the air is invaluable \u2018in a consumption-breeding climate like ours.\u2019\u201d He also suggests that a shaved man resembles a monkey\u2014contradicting more recent research that suggests that men grow beards expressly to indulge \u201csimian displays of size and aggression.\u201d<\/li>\n<li>Today in holography: Alkiviades David, a forty-seven-year-old billionaire and hologram impresario, thinks that \u201c<a href=\"http:\/\/www.vulture.com\/2015\/08\/alki-david-celebrity-hologram-business.html?mid=twitter_nymag\" target=\"_blank\">the hologram business is bigger than porn. It\u2019s going to be as big as the movie market<\/a>.\u201d He imagines hologram performances so sophisticated that it would be possible to bring back Amy Winehouse. Or the Beatles. Or Jesus. But he seems to miss the fact that people have a limited appetite for novelties and imitations: \u201cUltimately, what is a hologram good for? \u2026 It\u2019s entirely possible, even probable, that, at some point, David\u2019s technology will be fully able to create and project a celebrity digital likeness that\u2019s indistinguishable from the real thing, one that moves fluidly and organically and delivers unerringly consistent performances. But no matter how lifelike, a hologram still favors the second half of that adjective more than the first.\u201d<\/li>\n<li>The French artist Bernar Venet has written conceptual poetry since 1967, when the phrase <em>conceptual poetry<\/em> inspired many fewer grunts of disdain than it does now. His focus is on \u201cthe rudimentary syntax of the list,\u201d and his \u201clist poems\u201d comprise everything from \u201c<a href=\"http:\/\/hyperallergic.com\/228238\/the-languages-of-bernar-venets-conceptual-poetry\/?ref=featured\" target=\"_blank\">synonyms to acronyms to currency exchange rates to the most frequented tourist destinations in France<\/a>.\u201d His poem \u201cMonostique\u201d is literally a math problem. \u201cFollowing French semiologist Jacques Bertin, he associates figurative representation with <em>polysemy<\/em> (which is open to multiple meanings) and abstraction with <em>pansemy<\/em> (which is open to any meaning). Mathematical symbols, on the other hand, convey only a single, fixed meaning, and for Venet, such unambiguity has not yet been explored in the history of art.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>For three years, Barton Swaim worked as a speechwriter for Mark Sanford, the maligned former governor of South Carolina. His book, The Speechwriter, suggests that Sanford\u2019s grammar was as wanting as his ethics: \u201cNearly every page of this book is wet with the tears of a pedant. At their first meeting, Sanford interrupts Swaim to [&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":[19122,19119,7535,19124,19125,19121,9375,19123,19120,11915,13409,967],"class_list":["post-88740","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-akiviades-david","tag-barton-swaim","tag-bears","tag-bernar-venet","tag-conceptual-poetry","tag-conjunctions","tag-facial-hair","tag-holography","tag-mark-sanford","tag-punctuation","tag-speechwriting","tag-vladimir-nabokov"],"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>Remembering Nabokov as an American Writer<\/title>\n<meta name=\"description\" content=\"A new book argues that the Americanness of Nabokov\u2019s prose is under-appreciated. 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