{"id":92802,"date":"2015-12-11T09:14:26","date_gmt":"2015-12-11T14:14:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=92802"},"modified":"2015-12-11T10:42:29","modified_gmt":"2015-12-11T15:42:29","slug":"a-generic-statement-about-haystacks-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/12\/11\/a-generic-statement-about-haystacks-and-other-news\/","title":{"rendered":"A Generic Statement About Haystacks, and Other News"},"content":{"rendered":"<div id=\"attachment_92804\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/12\/getty_monet_wheatstacks.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-92804\" class=\"wp-image-92804\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/12\/getty_monet_wheatstacks.jpg\" alt=\"\" width=\"600\" height=\"389\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/12\/getty_monet_wheatstacks.jpg 640w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/12\/getty_monet_wheatstacks-300x195.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-92804\" class=\"wp-caption-text\">Claude Monet, <i>Wheatstacks, Snow Effect, Morning<\/i>, 1891.<\/p><\/div>\n<ul>\n<li>Our <a href=\"https:\/\/www.theparisreview.org\/back-issues\/215\" target=\"_blank\">new Winter issue<\/a>, hot off the presses, features poems from <em>A New English Grammar<\/em> by Jeff Dolven. One of them, \u201c<a href=\"http:\/\/languagelog.ldc.upenn.edu\/nll\/?p=22776\" target=\"_blank\">*The Haystack\u2019s Painting<\/a>,\u201d has occasioned a roiling linguistic-grammatical debate at Language Log. \u201cI would have no problem with a sentence such as \u2018We sat in the haystack\u2019s shadow\u2019 in any case, but the case at hand is not a generic statement about haystacks,\u201d one reader writes: \u201cThe body of the poem personifies the haystack, so it seems perfectly consistent that the title does also. If the reader is caught short by the title, only to have the tension relaxed by personification in the following lines, this is to the poet\u2019s credit.\u201d Another says, \u201cI\u2019m not quite sure what\u2019s being considered ungrammatical about \u2018The haystack\u2019s painting.\u2019 Haystack is a noun; nouns have possessive forms. It\u2019s certainly unusual to consider the subject of a painting to be the \u2018owner\u2019 of that painting, but I think it\u2019s quite an effective poetic device here.\u201d<\/li>\n<li>The poet Stephen Spender kept his sexuality a secret\u2014a burden he managed only with the belief that leading a double life was completely ordinary for a writer. \u201cIn the 1990s, when literary parties were more fun, or I was more fun, I used occasionally to see Stephen Spender,\u201d Andrew O\u2019Hagan writes: \u201cthere he was, the establishment on quivering legs, queer as a chocolate orange but safely married. (When I spoke to him, I discovered he could flirt with his eyes shut.) \u2026 <a href=\"http:\/\/www.lrb.co.uk\/v37\/n24\/andrew-ohagan\/from-soup-to-fish\" target=\"_blank\">\u2018Just do your thing,\u2019 one wishes to say to him, but he was doing his thing, and part of that thing was not really to know what his thing was<\/a>. Sexual identity gets all the limelight, but sex itself wasn\u2019t particularly important to Spender and the freedom he harped on about, and feared losing as a result of his domestic decisions, was the freedom to write as he wanted to.\u201d<\/li>\n<li>Today in length: books have more of it than ever. A survey found that <a href=\"http:\/\/www.theguardian.com\/books\/2015\/dec\/10\/are-books-getting-longer-survey-marlon-james-hanya-yanagihara\" target=\"_blank\">the average number of pages in a book has increased by 25 percent since 1999<\/a>\u2014to four hundred pages. \u201cThe real struggle is publishing an unremarkably-sized book,\u201d one agent says: \u201cthe most difficult area now appears to be the middle. Mid-list, mid-career, middle-sized\u2014in fact anything that\u2019s middling.\u201d<\/li>\n<li>Jewels, vases, statues, masks, vessels \u2026 you name it, the Ancient Greeks had it in gold. And now this plunder is ours, all ours: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2015\/12\/10\/greeks-splendors-of-the-dead\/\" target=\"_blank\">We learn a great deal about Greek art by being grave robbers. The immensely privileged eased themselves into the afterlife with much of the booty that had cushioned their time on earth<\/a>. It seems they aimed at taking along enough symbols of power and wealth to get whatever passes for honor in the underworld. Greek and Roman rulers and victors wore wreaths more often than crowns; so we find gold imitations of the rich foliation of crowns made from different tree branches. Phillip II was buried in an underground miniature temple wearing an oak leaf wreath made with stunning realism by his little army of goldsmiths.\u201d<\/li>\n<li>People have been flying in the movies for more or less as long as they\u2019ve been flying in real life. The plane, in cinema, has long functioned as an essential piece of visual vocabulary, and also as propaganda. During World War II, the military commissioned directors like William Wyler to bring a glorious variant aerial combat into movie houses: \u201c<a href=\"http:\/\/www.nytimes.com\/2015\/12\/13\/magazine\/the-art-of-flying-in-the-movies.html?_r=0\" target=\"_blank\">Wyler and his crew embedded (as we might now say) with the 91st Bomb Group. They took their sixteen-millimeter cameras on bombing runs<\/a> \u2026 The results of his time with the 91st Bomb Group were assembled into a short documen\u00adtary called <em>Memphis Belle<\/em> (1944), which James Agee praised for its immediacy. \u2018I could not guess which shots were re-enacted and which were straight records,\u2019 Agee confessed, and postwar movies would often aspire to induce precisely this confusion. Agee had an ethical commitment to documentary, and a temperamental suspicion of artifice, and during the war his insistence on the literal, visceral truth reflected the biases of the filmmakers themselves, who often battled Army censors over how much unvarnished reality they could show.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Our new Winter issue, hot off the presses, features poems from A New English Grammar by Jeff Dolven. One of them, \u201c*The Haystack\u2019s Painting,\u201d has occasioned a roiling linguistic-grammatical debate at Language Log. \u201cI would have no problem with a sentence such as \u2018We sat in the haystack\u2019s shadow\u2019 in any case, but the case [&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":[14735,80,8606,6346,231,20530,20341,3685,20527,20529,1277,11390,20528,12703],"class_list":["post-92802","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-ancient-greece","tag-cinema","tag-flight","tag-flying","tag-grammar","tag-greek-artifacts","tag-issue-215","tag-jeff-dolven","tag-language-log","tag-length","tag-linguistics","tag-monet","tag-page-count","tag-stephen-spender"],"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>Jeff Dolven\u2019s \u201cHaystack\u201d Gets a Linguistic Analysis<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s 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\/12\/11\/a-generic-statement-about-haystacks-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Generic Statement About Haystacks, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"December 11, 2015 \u2013 Our new Winter issue, hot off the presses, features poems from A New English Grammar by Jeff Dolven. One of them, \u201c*The Haystack\u2019s Painting,\u201d has\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/12\/11\/a-generic-statement-about-haystacks-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-12-11T14:14:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-12-11T15:42:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/12\/getty_monet_wheatstacks.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"415\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta 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