{"id":95744,"date":"2016-03-18T18:53:43","date_gmt":"2016-03-18T22:53:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95744"},"modified":"2016-03-21T10:40:30","modified_gmt":"2016-03-21T14:40:30","slug":"staff-picks-back-waiters-blackouts-bulletin-boards","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/18\/staff-picks-back-waiters-blackouts-bulletin-boards\/","title":{"rendered":"Staff Picks: Back Waiters, Blackouts, Bulletin Boards"},"content":{"rendered":"
\"\"<\/a>

From the cover of Sweetbitter<\/i>, out in May<\/p><\/div>\n

In its first chapter alone, Jean Stein\u2019s West of Eden: An American Place<\/a> <\/em>sees a fortune made and squandered, a dubious murder-suicide, a media blackout, hundreds of thousands of dollars in bribe money, and a death by battery acid. And this isn\u2019t fiction\u2014it\u2019s an oral history of Los Angeles, full of myth and rancor and especially desolation. Focusing on just five addresses, including the Dohenys\u2019 fabled Greystone Mansion and Jack Warner\u2019s Beverly Hills monstrosity, Stein excavates an LA counternarrative that\u2019s been buried for decades in the city\u2019s foundations, obscured by those who insist on marketing the place as paradise. The Los Angeles that emerges here is anything but a dream factory\u2014its denizens are so felled by corruption and hubris that their lives take on the dimensions of Greek tragedy. West of Eden <\/em>is a stunning accomplishment. Strange that it comes at roughly the same moment as the Coen Brothers\u2019 Hail Caesar!<\/em>, which tells, beneath its frothy surface, another sad story of old Hollywood\u2019s bitter power-brokers. \u2014Dan Piepenbring<\/strong><\/p>\n

\u201cWe are getting \/ rid of ownership, substituting use. \/ Beginning with ideas. Which ones can we \/ take? Which ones can we give?\u201d I read these sentences a half dozen times, stopping after each read to consider a new meaning that appeared before me, like an ever-expanding horizon. In fact, most sentences in John Cage\u2019s\u00a0Diary: How to Improve the World (You Will Only Make Matters Worse)<\/a>\u00a0<\/em>took several readings to get through. But\u00a0these fragments of opinions and problems, worries and joys are meant to be meditative, and working through them recalibrates the reader\u2019s perspective. Shifts between typefaces, indentations, and colors make a collage of the text, and there is little sense of where one entry ends and the next begins, which produces wonderfully unexpected juxtapositions and startles to attention odd anecdotes like this one: \u201cIn the lobby after La \/ Monte Young\u2019s music stopped, \/ Geldzahler said: It\u2019s like being in a \/ womb; now that I\u2019m out, I want to get \/ back in. I felt differently and so did \/ Jasper Johns: We were relieved to be \/ released.\u201d And to think that it\u2019s really all just words arranged on a page. But, as Cage points out, \u201cIf we could change our language, \/ that\u2019s to say the way we think, \/ we\u2019d probably be able to swing the \/ revolution.\u201d \u00a0\u2014Nicole Rudick\u00a0<\/strong><\/p>\n

\"west<\/a>

Detail from Ed Ruscha\u2019s Back of Hollywood<\/i> (1977), on the cover of West of Eden<\/i><\/p><\/div>\n

Stephanie Danler\u2019s novel\u00a0Sweetbitter<\/a><\/em>, out in May, is, in an almost literal sense, a sensational debut. Most of it takes place during the dinner rushes and \u201cshift-drink\u201d periods (read: after-hours ragers) at an unnamed gourmet restaurant in Union Square, where its protagonist, Tess, gets a job as a back-waiter after having moved to New York at twenty-two. Where\u00a0Sweetbitter\u00a0<\/em>differs from your typical move-to-NYC-with-nothing-to-my-name bildungsroman is in its hedonism; it\u2019s not about Tess \u201cfinding herself\u201d as much as it\u2019s about the conquest and glory of, say, befriending another back-waiter who\u2019ll front you a bump of cocaine on Saturday night and who\u2019ll crush an Adderall into your coffee the next morning, when the whole staff is hungover. The prose in itself is a dopamine tease: when Danler describes the brininess of a Kumamoto oyster chased with chocolate stout or the lights over the bar in summer twilight, I wanted to get drunk and slurp seafood with my friends. What I like most about\u00a0Sweetbitter\u00a0<\/em>is how well it works as an ensemble novel: when Tess and her coworkers, vivid and indispensable, are all together, all fucked up.\u00a0\u2014Daniel Johnson<\/strong><\/p>\n

\u201cAround this time I became a frequent visitor to a sex-ad bulletin board,\u201d begins Domenick Ammirati\u2019s short story \u201cMarcy,\u201d in the thirty-fifth anniversary issue of\u00a0BOMB<\/em><\/a>. Discomforting and tragically beautiful, the story peels away nearly all that\u2019s taboo about scouring for sex on the Internet, that \u201climitless interactive archive of erotic fiction.\u201d The narrator, Dean, posts an ad online, fiddles with his profile picture (swapping the sunglasses photo out for the shirtless one, and back again), and waits for someone to respond. What follows is a lonesome scene between Dean and the woman who answers his ad, Nina, set in the Independence Towers housing projects of New York. The story is a vignette of the ways people use each another to get their fill, and how quickly they discard them when they can\u2019t. And yet there\u2019s an undeniable undercurrent of heartache and longing beneath it all that left me shaken. Ammirati\u2019s writing is stark and unflinching; I hope to read something else of his very soon. \u2014Caitlin Youngquist<\/strong><\/p>\n

\"\"<\/a>

A still from Ryan Trecartin\u2019s CENTER JENNY<\/i>, from the cover of BOMB<\/i>\u2019s thirty-fifth-anniversary issue.<\/p><\/div>\n

The hardest thing to write about well is writing. Novels with novelists as their protagonists seem to me a kind of unimaginative gesture at intellectual intimacy, but those who do it well make the reader a confidant in the creative process. Mark Leyner\u2019s new novel, Gone with the Mind<\/a><\/em>, and Patrick Madden\u2019s latest essay collection, Sublime Physick<\/a><\/em>, both pull it off. Leyner\u2019s book, as with most of its predecessors, stars himself, and if you read the excerpt in the Review <\/em>last year, you know it\u2019s an autobiography wrapped in the story of that autobiography\u2019s conception: it takes place entirely at a reading in a mall food court in New Jersey. (Spoiler alert: he never actually begins the reading.) The Leyner we meet on the page reminds me of an ecstatic, drug-addled seatmate I had once on a Greyhound bus ride from Pensacola to Tallahassee\u2014a man whose dilations made more sense to me as the trip wore on, when they revealed themselves as quiet revelations. Madden\u2019s essays, meanwhile, are Montaigne-like exercises in hair-splitting and self-questioning, until finally Madden admits that he\u2019s an essayist and that living the examined life is what he does. Both people, and both books, are ones I\u2019m not likely to forget. \u2014Jeffery Gleaves<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In its first chapter alone, Jean Stein\u2019s West of Eden: An American Place sees a fortune made and squandered, a dubious murder-suicide, a media blackout, hundreds of thousands of dollars in bribe money, and a death by battery acid. And this isn\u2019t fiction\u2014it\u2019s an oral history of Los Angeles, full of myth and rancor and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[5246,21595,21597,21598,995,21429,8117,10544,21599,9619,883,21594,21600,21596,21430],"class_list":["post-95744","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-bomb","tag-diary-how-to-improve-the-world","tag-domenick-ammirati","tag-gone-with-the-mind","tag-hollywood","tag-jean-stein","tag-john-cage","tag-mark-leyner","tag-patrick-madden","tag-recommended-reading","tag-staff-picks","tag-stephanie-danler","tag-sublime-physick","tag-sweetbitter","tag-west-of-eden"],"acf":[],"yoast_head":"\nStaff Picks: Jean Stein, John Cage, Stephanie Danler<\/title>\n<meta name=\"description\" content=\"What the staff of The 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