{"id":90959,"date":"2015-10-16T09:20:38","date_gmt":"2015-10-16T13:20:38","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90959"},"modified":"2015-10-16T10:27:41","modified_gmt":"2015-10-16T14:27:41","slug":"to-the-crematorium-with-patricia-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/16\/to-the-crematorium-with-patricia-and-other-news\/","title":{"rendered":"To the Crematorium with Patricia, and Other News"},"content":{"rendered":"<div id=\"attachment_90961\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/gates.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90961\" class=\"wp-image-90961\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/gates.jpg\" alt=\"\" width=\"600\" height=\"390\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/gates.jpg 800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/gates-300x195.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90961\" class=\"wp-caption-text\">A 1909 postcard of the main gates to Brooklyn\u2019s Green-Wood Cemetery.<\/p><\/div>\n<ul>\n<li>Susan Howe on Wallace Stevens and just plain old liking the guy\u2019s poems: \u201c<a href=\"http:\/\/www.thenation.com\/article\/vagrancy-in-the-park\/\" target=\"_blank\">The poetry of Wallace Stevens makes me happy<\/a>. This is the simple truth. Pleasure springs from the sense of fluid sound patterns phonetic utterance excites in us. Beauty, harmony, and order are represented by the arrangement, and repetition, of particular words on paper. No matter how many theoretical and critical interpretations there are, in the end each new clarity of discipline and delight contains inexplicable intricacies of form and measure \u2026 I don\u2019t often remember Stevens poems separately except for the early ones, but they all run together, the way Emerson\u2019s essays do, into one long meditation, moving like waves, and suddenly there is one perfect portal. The quick perfection.\u201d<\/li>\n<li>In 1987, Patricia Highsmith, then at her most misanthropic and having found a malignant tumor on her lung, paid a visit to Brooklyn, where she wrote an abortive essay for the<em> New York Times<\/em> about Green-Wood Cemetery. It never ran, perhaps because <a href=\"http:\/\/www.atlasobscura.com\/articles\/we-have-a-copy-of-patricia-highsmiths-unpublished-essay-on-green-wood-cemetery\" target=\"_blank\">its pivotal moment finds her sticking her hand in an industrial furnace, still warm, at the crematorium<\/a>. \u201cThe warmth of that retort, even though it may have come from a pilot flame, brought home death to me as none of the stone monuments above ground had,\u201d she writes. She also likens the cemetery to a passing garbage truck: \u201cIts apparently inexhaustible drip of squashed vegetable matter or leftover orange juice reminds me of human mortality, with its attendant ugliness, stench and inevitability.\u201d<\/li>\n<li>Susan Cheever has looked into America\u2019s long lust for booze, and she\u2019s discovered a few things. First, that a drunk Nixon once claimed he\u2019d made a great pope. And second, that the link between writers and alcohol is a fairly new one: \u201c<a href=\"http:\/\/www.telegraph.co.uk\/books\/what-to-read\/susan-cheever-drinking-in-America-review\/\" target=\"_blank\">In the nineteenth century, writers didn\u2019t drink<\/a>. Hawthorne, Melville, Thoreau, Emerson, Longfellow. Nope. No drinkers. It\u2019s not about the writers. It\u2019s about the drinking culture. Some writers drink a lot, so much so that the five people who won the Nobel Prize for literature were all alcoholics [Sinclair Lewis, Eugene O\u2019Neill, William Faulkner, Ernest Hemingway, and John Steinbeck]. I hadn\u2019t really done the math, and then it occurred to me that, of course, it came out of Prohibition, that Prohibition made drinking that much more attractive to writers.\u201d<\/li>\n<li>Today in vintage hate-reads: a newly discovered transcript of Ayn Rand\u2019s remarks to the 1974 graduating class at West Point finds her up to her usual tricks, i.e., disguising out-and-out bigotry behind a tissue-thin veil of \u201cphilosophy.\u201d \u201c<a href=\"http:\/\/www.salon.com\/2015\/10\/14\/libertarian_superstar_ayn_rand_defended_genocide_of_savage_native_americans\/\" target=\"_blank\">Any white person who brings the elements of civilization had the right to take over this continent<\/a>,\u201d Rand said to the group of dewy-eyed officers-to-be. \u201cIt is great that some people did, and discovered here what they couldn\u2019t do anywhere else in the world and what the Indians, if there are any racist Indians today, do not believe to this day: respect for individual rights \u2026 Racism didn\u2019t exist in this country until the liberals brought it up.\u201d Important words to remember the next time you spot a malleable young person reading <em>The Fountainhead<\/em> and claiming it\u2019s just \u201ca really good story.\u201d<\/li>\n<li>Notes toward a theory of Playmobil, with its bizarre, intensely Euro-zone aesthetic, its fascination with the civil service, its tendency to exalt the bourgeois: \u201cAs I examined the Playmobil version of Vermeer\u2019s <em>Milkmaid<\/em>, I realized how <a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/the-playmobil-conundrum\" target=\"_blank\">Vermeer\u2019s popularity as a painter rests on the same sort of generic, domestic scenarios as Playmobil, with all those charming, joyful, bourgeois little details, the depiction of the everyday things of our lives<\/a> \u2026 Next to Lego \u2026 Playmobil can seem downright dowdy and boring \u2026 One of the best-selling sets is a Christmas manger scene. The fastest-selling Playmobil figure of all time was launched this past winter: Martin Luther, complete with quill and German Bible!\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Susan Howe on Wallace Stevens and just plain old liking the guy\u2019s poems: \u201cThe poetry of Wallace Stevens makes me happy. This is the simple truth. Pleasure springs from the sense of fluid sound patterns phonetic utterance excites in us. Beauty, harmony, and order are represented by the arrangement, and repetition, of particular words on [&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":[7493,14298,3913,18140,19815,4842,1825,18409,165,6661,19816,9393,792],"class_list":["post-90959","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-alcohol","tag-alcoholism","tag-ayn-rand","tag-cremation","tag-greenwood-cemetery","tag-lego","tag-patricia-highsmith","tag-playmobil","tag-poetry","tag-racism","tag-susan-cheever","tag-susan-howe","tag-wallace-stevens"],"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>Patricia Highsmith\u2019s Morbid Unpublished Essay on Greenwood<\/title>\n<meta name=\"description\" content=\"This and more in today&#039;s roundup...\" \/>\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\/2015\/10\/16\/to-the-crematorium-with-patricia-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"To the Crematorium with Patricia, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"October 16, 2015 \u2013 Susan Howe on Wallace Stevens and just plain old liking the guy\u2019s poems: \u201cThe poetry of Wallace Stevens makes me happy. 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