{"id":97175,"date":"2016-04-20T17:56:12","date_gmt":"2016-04-20T21:56:12","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=97175"},"modified":"2016-04-20T18:12:15","modified_gmt":"2016-04-20T22:12:15","slug":"barneys-wall","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/20\/barneys-wall\/","title":{"rendered":"Barney\u2019s Wall"},"content":{"rendered":"
\"\"<\/a>

From the trailer for Barney\u2019s Wall<\/i>.<\/p><\/div>\n

Longtime readers of the Review <\/em>will recall\u00a0our 1997 interview with Barney Rosset<\/a>, the irrepressible publisher of Grove Press and the Evergreen Review<\/em>. In the fifties and sixties, Rosset brought scores of ostensibly obscene books to the U.S., often to the gross offense of the era\u2019s leading fuddy-duddies. The unexpurgated Lady Chatterley\u2019s Lover<\/em>? A Grove title. Tropic of Cancer<\/em>\u2014also Grove. American editions of\u00a0Waiting for Godot<\/em>, Our Lady of the Flowers<\/em>, Naked Lunch<\/em>, Last Exit to Brooklyn<\/em>\u2014all Rosset\u2019s\u00a0doing. Even I Am Curious (Yellow)<\/em>, everyone\u2019s favorite X-rated Swedish art-house\u00a0flick, was a Rosset import. As he says in his Art of Publishing interview<\/a>, all this illicit material came with its share of trouble\u2014some of which he sought out willingly.\u00a0When he published\u00a0Chatterley<\/em>, for example, Rosset was so eager to strike a blow against censorship that he used the book as bait, getting himself hauled into court:\u00a0<\/p>\n

\n

We decided the best thing to do was send the book through the mail so it would be seized by the post office. We thought this would be the best way to defend the book. The post office is a federal government agency, and if they arrest you, you go to the federal court. That way you don\u2019t have to defend the book in some small town. If we won against the post office, then the federal government was declaring that this book was not objectionable. That was the idea, and it worked out in exactly that way. The post office has its own special court, where the judge and the prosecutor are the same man. We brought in all these famous writers. Malcolm Cowley was a witness. He was particularly good because he was deaf and couldn\u2019t hear the questions of the prosecutor\u2014so he gave a lecture. Alfred Kazin was another witness. Picked him up from the New School, where I\u2019d taken a course with him. Horace Gregory. The judge, if you could call him that, ruled against us. We lost.<\/p>\n<\/blockquote>\n

Too\u00a0often, he found that it it took only\u00a0a well-placed four-letter word to expose the hypocrisy behind conventional thinking:<\/p>\n

\n

We published a poem by Julian Beck that ended with the line, \u201cFuck the USA.\u201d They wanted us to take the line out. We said, Would it be all right if it read \u201cFuck the Soviet Union\u201d? They said sure\u2014a very good example of what we were up against at the time. Probably if the poem said, \u201cI don\u2019t like the United States,\u201d that would have been all right. \u201cFuck the Soviet Union\u201d was all right. But to put the two together \u2026 ! We lost that printer. We kept losing printers, one after another.<\/p>\n<\/blockquote>\n

Rosset\u00a0was proud of his years as a firebrand. He bragged to the Review\u00a0<\/em>that the\u00a0then-president of Random House \u201csaid I was a maverick \u2026\u00a0He was right.\u201d Rosset died in 2012, but not before taking on one last maverick effort\u2014his autobiography. He wasn\u2019t going to write\u00a0<\/em>the thing\u2014too easy.\u00a0Instead, inspired by a dream in which his first wife implored him to paint, he bought a bunch of art supplies, mounted a stepladder in his East Village loft, and undertook a twelve-by-fifteen-foot mural comprising scenes and mementoes from his life. Pictures of Thai bar girls. A Korean suicide knife. Figurines, a miniature billiards table. These he surrounded in swaths of gold and blue paint, giving them the look of a Wunderkammer<\/em> in an aquarium.<\/p>\n

No one was quite sure what to make of the wall, how to decode it. And anyway, what was\u00a0<\/em>it? An elaborate hieroglyph? An acid flashback? A last burst of unfettered expression\u00a0from a man who\u2019d\u00a0spent decades fighting\u00a0pissant censors and prudish bureaucrats? A new documentary, Barney\u2019s Wall<\/a><\/em>, aims to elucidate\u00a0Rosset\u2019s unlikely final project by using it\u00a0to tell the story of his\u00a0life. To this end, the filmmakers\u2014led by Sandy Gotham Meehan, who (full disclosure) sits on The Paris Review<\/em>\u2019s board\u2014have enlisted artists and even a shaman to \u201cuse the symbols, dioramas, and hints that Barney has embedded into his cry against mortality to piece together the influences that caused him to rebel against overreaching government authority.\u201d<\/p>\n

The documentary is nearing completion, but to help reach their goal, the filmmakers have created\u00a0a\u00a0Kickstarter<\/a>\u00a0to raise the necessary funds. If you can, please donate by Saturday, April 23. And, being advocates of Rosset\u2019s brand of free expression, we encourage you to add whatever message you\u2019d like: \u201cFuck the USA,\u201d \u201cFuck the Soviet Union,\u201d or \u201cFuck you.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Longtime readers of the Review will recall\u00a0our 1997 interview with Barney Rosset, the irrepressible publisher of Grove Press and the Evergreen Review. In the fifties and sixties, Rosset brought scores of ostensibly obscene books to the U.S., often to the gross offense of the era\u2019s leading fuddy-duddies. The unexpurgated Lady Chatterley\u2019s Lover? A Grove title. […]<\/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":[35,6475,22028,2968,13797,16486,1132,20227,4759,81,22029,22026,22027],"class_list":["post-97175","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-art","tag-barney-rosset","tag-barneys-wall","tag-censorship","tag-documentaries","tag-free-expression","tag-interviews","tag-issue-145","tag-lady-chatterleys-lover","tag-movies","tag-sandy-gotham-meehan","tag-the-art-of-publishing","tag-winter-1997"],"acf":[],"yoast_head":"\nHelp Fund \u201cBarney\u2019s Wall,\u201d a Documentary about Barney Rosset<\/title>\n<meta name=\"description\" content=\"April 20, 2016 \u2013 Longtime readers of the Review will recall\u00a0our 1997 interview with Barney Rosset, the irrepressible publisher of Grove Press and the Evergreen Review. 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