{"id":88779,"date":"2015-08-13T08:48:51","date_gmt":"2015-08-13T12:48:51","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88779"},"modified":"2015-08-13T10:23:35","modified_gmt":"2015-08-13T14:23:35","slug":"zero-at-the-bone-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/08\/13\/zero-at-the-bone-and-other-news\/","title":{"rendered":"Zero at the Bone, and Other News"},"content":{"rendered":"<div id=\"attachment_88780\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/emily_dickinson_daguerreotype.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-88780\" class=\"wp-image-88780\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/emily_dickinson_daguerreotype.jpg\" alt=\"\" width=\"600\" height=\"470\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/emily_dickinson_daguerreotype.jpg 617w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/emily_dickinson_daguerreotype-300x235.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-88780\" class=\"wp-caption-text\">A daguerreotype of Emily Dickinson, ca. 1848.<\/p><\/div>\n<ul>\n<li>Since David Foster Wallace committed suicide in 2008, <em>Infinite Jest <\/em>has undergone a dramatic change in its cultural significance: once merely the mark of a curious reader, it\u2019s become a totem for bros, who see in its massive size and brainy reputation a chance to show off their own massive size and brainy reputations\u2014and who have no intention of really grappling with it. \u201c<a href=\"http:\/\/nymag.com\/thecut\/2015\/08\/david-foster-wallace-beloved-author-of-bros.html?mid=twitter_cut\" target=\"_blank\">How did poor David Foster Wallace go from dissecting the pretensions and shortcomings of mid-century men of letters to holding a central place in the pretensions of their heirs<\/a>? \u2026 [<em>Jest<\/em>\u2019s] irrefutable bigness is a dare \u2026 For these men, Wallace stands as a challenge to be confronted, just as the paperback brick of <em>Infinite Jest <\/em>stands as a challenge to the guy hauling it on the G train.\u201d<\/li>\n<li>Alexandra Kleeman, whose debut short story \u201cFairy Tale\u201d appeared in our <a href=\"http:\/\/store.theparisreview.org\/products\/the-paris-review-no-195-winter-2010\" target=\"_blank\">Winter 2010 issue<\/a>, discusses her new novel, <em>You Too Can Have a Body Like Mine<\/em>, and the altogether surreal experience of seeing ads on TV for the first time after a long break from the medium: \u201cThey\u2019re these little pockets of weirdness \u2026 You get these characters who so fervently believe in the power of a certain product, they\u2019re so fervently wanting to fix this one problem. You have these weird extreme emotions like jealousies and affections for things that no normal person would, so I find them really interesting and almost beautiful in that way, like surrealist films. <a href=\"http:\/\/www.theawl.com\/2015\/08\/you-too-can-have-a-debut-novel-like-mine\" target=\"_blank\">You can feel how much money goes into commercials by how swiftly they act on your mind<\/a>. And they\u2019ve got like a hypnotic quality to the way they present their products. I can feel myself taking on a desire for that thing, or at least like feeling the desire they want me to feel, when I see a beautifully done eye, or makeup, or the softness of some cotton fabric bouncing up and down.\u201d<\/li>\n<li>And <a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/the-story-is-the-thing-on-lucia-berlin\" target=\"_blank\">Lydia Davis looks at the life and work of Lucia Berlin<\/a>, who died in 2004, and whose story \u201cB.F. and Me\u201d appears in our <a href=\"https:\/\/www.theparisreview.org\/current-issue\" target=\"_blank\">Summer issue<\/a>: \u201cWe have, most of us, known at least some part of what she went through: children in trouble, or early molestation, or a rapturous love affair, struggles with addiction, a difficult illness or disability, an unexpected bond with a sibling, or a tedious job, difficult fellow workers, a demanding boss, or a deceitful friend, not to speak of awe in the presence of the natural world\u2014Hereford cattle knee-deep in Indian paintbrush, a field of bluebonnets, a pink rocket flower growing in the alley behind a hospital. Because we have known some part of it, or something like it, we are right there with her as she takes us through it.\u201d<\/li>\n<li>It\u2019s time to make food a permanent part of the cultural canon: \u201cWe have traditionally regarded cuisines as pop or folk art at best\u00ad\u2014cherished but ephemeral, beginning as peasant food forged from the local landscape and naturally disappearing as people emigrated and landscapes changed \u2026 \u2018There is a group of us who want to know the deep flavors of what has endured longest. Those ingredients that mattered for so long that they became \u201cthe taste\u201d of the time, the points of reference against which all innovations were measured. <a href=\"http:\/\/aeon.co\/magazine\/culture\/why-we-should-add-food-to-the-cultural-canon\/\" target=\"_blank\">For me, those ingredients constitute the canon, and the dishes of the time frame them<\/a>.\u2019\u2009\u201d<\/li>\n<li>Step aside\u2014Joyce Carol Oates is asking the big questions about inspiration and art. \u201c<a href=\"http:\/\/www.nybooks.com\/articles\/archives\/2015\/aug\/13\/inspiration-and-obsession-life-and-literature\/\" target=\"_blank\">Why do we write? What is the motive for metaphor? \u2026 Is inspiration a singular phenomenon, or does it take taxonomical forms?<\/a> Indeed, is the uninspired life worth living? \u2026 \u2018Inspiration\u2019 is an elusive term. We all want to be \u2018inspired\u2019 if the consequence is something original and worthwhile; we would even consent to be \u2018haunted\u2019\u2014\u2018obsessed\u2019\u2014if the consequence were significant. For all writers dread what Emily Dickinson calls \u2018Zero at the Bone\u2019\u2014the dead zone from which inspiration has fled.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Since David Foster Wallace committed suicide in 2008, Infinite Jest has undergone a dramatic change in its cultural significance: once merely the mark of a curious reader, it\u2019s become a totem for bros, who see in its massive size and brainy reputation a chance to show off their own massive size and brainy reputations\u2014and who [&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":[1513,16356,154,115,1968,9790,2015,18318,576,14405],"class_list":["post-88779","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-alexandra-kleeman","tag-bros","tag-david-foster-wallace","tag-food","tag-infinite-jest","tag-inspiration","tag-joyce-carol-oates","tag-lucia-berlin","tag-lydia-davis","tag-taste"],"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>\u201cZero at the Bone\u201d: Emily Dickinson and Inspiration<\/title>\n<meta name=\"description\" content=\"Joyce Carol Oates looks at inspiration; 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