{"id":96538,"date":"2016-04-05T08:55:36","date_gmt":"2016-04-05T12:55:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=96538"},"modified":"2016-04-05T13:42:06","modified_gmt":"2016-04-05T17:42:06","slug":"new-highs-in-motel-voyeurism-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/05\/new-highs-in-motel-voyeurism-and-other-news\/","title":{"rendered":"New Highs in Motel Voyeurism, and Other News"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/motelpostcard.jpg\" rel=\"attachment wp-att-96539\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-96539 aligncenter\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/motelpostcard.jpg\" alt=\"\" width=\"600\" height=\"369\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/motelpostcard.jpg 694w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/motelpostcard-300x185.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<ul>\n<li>Should we be surprised that so many writers have doubled as spies? It seems a shame to put all their observational prowess to waste when there\u2019s a great way to monetize it\u2014and writing is most assuredly not that way. Plus, the connection speaks to deeper truths about both art forms: \u201c<a href=\"http:\/\/www.economist.com\/blogs\/prospero\/2016\/04\/writers-who-spied\" target=\"_blank\">Writers create plots; spies uncover them<\/a> \u2026 \u2018Everything is useful to a writer,\u2019 [Graham] Greene insisted. \u2018Every scrap, even the longest and most boring of luncheon parties.\u2019 Writers are obsessed with plot and character, motive and perspective, and with the space between interior and exterior worlds, between what people think and what they say. Le Carr\u00e9 has suggested that espionage is a kind of metaphor; we all live undercover and mask our private selves with projected social personalities. \u2018Most of us live,\u2019 he said, in a slightly conspiratorial relationship with our employer and perhaps with our marriage.\u2019\u2009\u201d<\/li>\n<li>Authors are great voyeurs, too, of course, so it comes as some surprise that Gerald Foos, who rigged up his motel so he could watch his guests going at it, didn\u2019t end up a novelist or something. But he was a writer of sorts: he kept an exhaustive journal of his observations, and Gay Talese has reported on it. \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2016\/04\/11\/gay-talese-the-voyeurs-motel\" target=\"_blank\">As I read the sections of the journal he sent me, which covered the mid-nineteen-sixties through the mid-seventies, I noticed that his persona as a writer changed, gradually shifting from a first-person narrator into a character whom he wrote about in the third person<\/a>. Sometimes he used the word <em>I<\/em>, and sometimes he\u2019d refer to himself as \u2018the voyeur\u2019 \u2026 The entries become increasingly portentous, and Foos starts to invest the omniscient Voyeur character with godlike qualities. He appears to be losing his grip on reality. But only once, while posted in the attic, did he actually speak through a vent to a person below. He was looking down on Room 6, where he saw a guest eating Kentucky Fried Chicken while sitting on the bed. Instead of using paper napkins, the man cleaned his hands on the bedsheets. He then wiped the grease off his beard and mouth with the bedspread. Without realizing what he was doing, Foos shouted, \u2018You son of a bitch!\u2019\u2009\u201d<\/li>\n<li>If writers are voyeurs and spies, poets at least get in on the action. To Garth Greenwell, cruising is itself a kind of poetry: \u201c<a href=\"http:\/\/www.buzzfeed.com\/garthgreenwell\/how-i-fell-in-love-with-the-beautiful-art-of-cruising#.hr22O4J5p\" target=\"_blank\">The two phenomena, as I experience them, can serve as similes for each other. Cruising carves out intimacies in public space in the same way poetry carves out intimacies in public discourse; and cruising is also itself a kind of discourse, with codes that have to be secret in plain sight, legible to those in the know but able to pass beneath general notice, like one of Wyatt\u2019s sonnets<\/a>. Both poetry and cruising have a structure that is essentially epiphanic, offering the sudden, often ecstatic revelation of a meaning that emerges from the inchoate stuff of quotidian life. As poetry declares a system of value incomprehensible to the world of Yeats\u2019s \u2018bankers, schoolmasters, and clergymen,\u2019 a value different from that of commerce and instrumental usefulness, so cruising depends on an idea of the value of human interactions shorn of the usual institutions that mark that value. And, maybe most profoundly, both poetry and cruising are arts of loneliness and the assuagement of loneliness.\u201d<\/li>\n<li>A new festival celebrating Beckett\u2019s years in Paris must ask what turns out to be a complicated question: What did Beckett really think of the place? The devastating answer: a shrug. \u201cDuring those years in Paris, he lived fully in the city; he drank at the Falstaff or the Rosebud and played billiards at the Les Trois Mousquetaires. He visited casinos with Thomas MacGreevy and in his trusty Citro\u00ebn he once drove a stunned Harold Pinter from bar to bar at breakneck speed. Beckett was also of course a great walker, he crisscrossed Paris time and time again. In his younger days he accompanied James Joyce in walks along the Seine; the older Beckett strolled through the Luxembourg Gardens with the philosopher Emil Cioran \u2026 <a href=\"http:\/\/www.irishtimes.com\/culture\/books\/samuel-beckett-in-paris-a-luminous-emptiness-1.2597911\" target=\"_blank\">And therein lies the fascination of Beckett and Paris, he\u2019s there but ever so subtly. As he was with people\u2014reticent, gracious\u2014so he was with the city<\/a> \u2026 Not all writers of course are obsessed, like Joyce or Dickens, with the minutiae of a particular city; there are some who, based on their work, barely seem to have walked this earth at all. With Beckett, not surprisingly, the reality is more complex, more elusive.\u201d<\/li>\n<li>As <em>The People v. O.\u2009J. Simpson<\/em> reaches its inevitable finale (spoiler alert: he\u2019s acquitted), Nicholas Dames sees in it something more than a dramatization of a sensational trial: \u201c<a href=\"http:\/\/www.publicbooks.org\/artmedia\/the-people-v-o-j-simpson-as-historical-fiction\" target=\"_blank\">The show\u2019s job, as its creators seem to have understood it\u2014and at which they succeed remarkably well is not fidelity to historical detail, but evocation of a vanished era in its most intimate aspects: the moment-to-moment feeling of being alive then, the sensory and affective horizons of a time still within living memory, seen through the slight parallax of the present<\/a>. Big narrative resolutions, like guilt and innocence, are beside the point. Instead, small things get magnified \u2026 What this means is that, allowing for all of its early-21st-century savvy and its very different medium, <em>The People v. O.\u2009J. Simpson<\/em> bears a surprising resemblance to a Victorian novel. It was one of nineteenth-century fiction\u2019s most subtle inventions: the idea that realism\u2019s gaze was sharpest when focused on the recent past, neither beyond living memory nor quite like contemporary world.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Should we be surprised that so many writers have doubled as spies? It seems a shame to put all their observational prowess to waste when there\u2019s a great way to monetize it\u2014and writing is most assuredly not that way. Plus, the connection speaks to deeper truths about both art forms: \u201cWriters create plots; spies uncover [&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":[21806,8813,16289,18125,21804,3816,270,165,4429,8812,21803,10401,21805,7592,11768,75],"class_list":["post-96538","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-cruising","tag-espionage","tag-garth-greenwell","tag-gay-talese","tag-gerald-foos","tag-o-j-simpson","tag-paris","tag-poetry","tag-samuel-beckett","tag-spies","tag-spying","tag-the-nineties","tag-the-people-v-o-j-simpson","tag-tv","tag-voyeurism","tag-writing"],"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>Writers Are Always Spies and Voyeurs, Too<\/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\/2016\/04\/05\/new-highs-in-motel-voyeurism-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"New Highs in Motel Voyeurism, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"April 5, 2016 \u2013 Should we be surprised that so many writers have doubled as spies? 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