{"id":91280,"date":"2015-10-26T09:04:52","date_gmt":"2015-10-26T13:04:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91280"},"modified":"2015-10-26T10:21:55","modified_gmt":"2015-10-26T14:21:55","slug":"dancing-in-the-trenches-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/26\/dancing-in-the-trenches-and-other-news\/","title":{"rendered":"Dancing in the Trenches, and Other News"},"content":{"rendered":"<div id=\"attachment_91282\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/shepard-ballet.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-91282\" class=\"wp-image-91282\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/shepard-ballet.jpg\" alt=\"\" width=\"600\" height=\"437\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/shepard-ballet.jpg 940w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/shepard-ballet-300x219.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-91282\" class=\"wp-caption-text\">E. H. Shepard, <em>Close of the Italian Season. Grand \u2018Peace Ballet\u2019 Finale<\/em>, 1918\u20131919. Image via <em>NYRB<\/em><\/p><\/div>\n<ul>\n<li>Ask your standard-issue grammarian about <em>further <\/em>versus <em>farther<\/em> and he\u2019ll trot out the conventional wisdom: <em>farther<\/em> should be used to refer to literal distances and <em>further <\/em>to metaphorical ones. But what if\u00a0<em><a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/further-and-farther-a-theory\" target=\"_blank\">everything we\u2019ve been taught is a lie<\/a><\/em>? Caleb Crain investigates: \u201c<em>Further\u00a0<\/em>didn\u2019t originally mean \u2018more distant\u2019 but something like \u2018more ahead,\u2019 or, as the contemporary O.E.D. puts it, \u2018more forward, more onward\u2019 \u2026 <em>farther<\/em>\u00a0refers to a greater distance, literal or metaphorical, from a shared measuring point.\u00a0<em>Further<\/em>\u00a0refers to a greater progress in a shared direction.\u201d<\/li>\n<li>What did the literary world look like before the free market enveloped and swallowed it? Memories of that time are getting murkier every day: \u201cIt is almost impossible now to remember \u2026 that <a href=\"https:\/\/nplusonemag.com\/online-only\/online-only\/the-piazza-and-the-parking-lot\/\" target=\"_blank\">poetry was the literary genre to which the greatest prestige accrued until the mideighties; that one might have spent an afternoon talking with an acquaintance about the rhythm of a writer\u2019s sentences<\/a> \u2026 that we didn\u2019t think of success in writing mainly in relation to the market, and in relation to a particular genre, the novel, and to a specific incarnation of that genre, the first novel, possibly until 1993, when <em>A Suitable Boy<\/em> was published, or maybe a year earlier, when Donna Tartt\u2019s <em>The Secret History<\/em>\u00a0appeared. It is now difficult to understand these examples as watershed occurrences in an emerging order, and difficult to experience again the moral implications of living \u2026 in an order that was superseded.\u201d<\/li>\n<li>NPR personalities used to position themselves as the genuine, warts-and-all alternative to the downy baritones on offer from traditional radio broadcasters\u2014but today even the NPR voices have come to sound manufactured, their hesitant cadences and informality built into the script. \u201cIn addition to looser language, the speaker generously employs pauses and, particularly at the end of sentences, emphatic inflection \u2026 A result is the suggestion of spontaneous speech and unadulterated emotion. <a href=\"http:\/\/www.nytimes.com\/2015\/10\/25\/fashion\/npr-voice-has-taken-over-the-airwaves.html\" target=\"_blank\">The irony is that such presentations are highly rehearsed, with each caesura calculated and every syllable stressed in advance<\/a> \u2026 the preplanned responses of NPR personalities sound somewhat counterfeit when stacked against the largely, if not completely, unscripted monologues that open rawer podcasts \u2026 an even more forceful catalyst for speech patterns has been the modern Internet, the most powerful linguistic relaxant outside of alcohol.\u201d<\/li>\n<li>E. H. Shepard is best remembered as the illustrator behind the original <em>Winnie-the-Pooh<\/em>, but before that, during World War I, he ran a soldiers\u2019 magazine from the trenches: \u201cFor months, his life, like all those on the front, was surrounded by slaughter. His sketchbook was full of pictures of crammed dugouts and rough shelters. He drew the chaotic rubble of no-man\u2019s land, the plight of the wounded, and the tall roadside crucifix used as a lookout post by the Germans \u2026 <a href=\"http:\/\/www.nybooks.com\/blogs\/nyrblog\/2015\/oct\/23\/charmer-in-the-trenches-eh-shepard\/\" target=\"_blank\">But there\u2019s still plenty of humor in <em>Venti Quatro<\/em>, the soldiers\u2019 magazine he edited<\/a>, satirizing the gung-ho coverage of the British press, so far from the bitter reality. His wit is not verbal, but visual\u2014a quality hard to define\u2014seen here in affectionate caricatures of fellow officers and in the wonderful, rhythmic dance of beak-nosed, moustachioed officers in swirling tutus.\u201d<\/li>\n<li>More and more literary magazines are charging a reading fee\u2014is this blatant money-grabbing or the latest in a series of efforts to stanch the flow of submissions? \u201cThe major reason literary journals charge fees has less to do with money, and more to do with the enormous number of submissions they receive. Around the country, MFA programs are graduating people who want to be writers, so they submit creative writing to literary journals. <a href=\"http:\/\/www.theatlantic.com\/entertainment\/archive\/2015\/10\/why-writers-are-paying-to-get-published\/411274\/\" target=\"_blank\">The journals, with small staffs and minuscule budgets, are overwhelmed with submissions and take a long time\u2014sometimes six months to a year\u2014to reply<\/a>. Most writers can\u2019t wait that long for a single response, so they send their work to more journals. The whole thing snowballs \u2026 In some sense, then, writers are to blame for blanketing journals they haven\u2019t even read with their work.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Ask your standard-issue grammarian about further versus farther and he\u2019ll trot out the conventional wisdom: farther should be used to refer to literal distances and further to metaphorical ones. But what if\u00a0everything we\u2019ve been taught is a lie? Caleb Crain investigates: \u201cFurther\u00a0didn\u2019t originally mean \u2018more distant\u2019 but something like \u2018more ahead,\u2019 or, as the contemporary [&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":[419],"tags":[953,14345,12976,19944,19942,19945,19943,231,2783,7029,4867,165,339,1880,9311],"class_list":["post-91280","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-caleb-crain","tag-capitalism","tag-drawings","tag-e-h-shepard","tag-farther","tag-fees","tag-further","tag-grammar","tag-illustrations","tag-literary-magazines","tag-npr","tag-poetry","tag-radio","tag-submissions","tag-voices"],"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>E. 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