{"id":97403,"date":"2016-04-26T09:56:35","date_gmt":"2016-04-26T13:56:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=97403"},"modified":"2016-04-26T10:39:51","modified_gmt":"2016-04-26T14:39:51","slug":"dont-worry-r-crumb-is-still-weird-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/26\/dont-worry-r-crumb-is-still-weird-and-other-news\/","title":{"rendered":"Don\u2019t Worry, R. Crumb Is Still Weird, and Other News"},"content":{"rendered":"<div id=\"attachment_97407\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb.jpg\" rel=\"attachment wp-att-97407\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-97407\" class=\"wp-image-97407\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb.jpg 1920w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb-300x180.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb-768x461.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb-1024x614.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-97407\" class=\"wp-caption-text\">An R. Crumb illustration from <em>Art &amp; Beauty <\/em>No. 2. Courtesy the artist, Paul Morris, and David Zwirner, New York\/London<\/p><\/div>\n<ul>\n<li>To celebrate the reissue of George Plimpton\u2019s sports oeuvre (<em>Paper Lion<\/em>, <em>Out of My League<\/em>, et cetera), <a href=\"http:\/\/lithub.com\/george-plimpton-the-original-master-of-none\/\" target=\"_blank\">you\u2019ll probably want to see these pictures of him doing one of the things he did so well: getting in over his head with very athletic men<\/a>.<\/li>\n<li>Crumb has a new exhibition at a London gallery\u2014a surprisingly reputable turn for an artist who prides himself on his ill repute. But don\u2019t worry: he\u2019s the same old glorious pervert. \u201c<a href=\"http:\/\/www.theguardian.com\/books\/2016\/apr\/24\/robert-crumb-interview-art-and-beauty-exhibition\" target=\"_blank\">I was always a contrarian. My wife says sometimes I\u2019m too much so\u2014born weird<\/a>. I always felt there\u2019s something odd and off about my nervous system. If everybody\u2019s walking forward, I want to walk backwards. During adolescence I couldn\u2019t fit in, and it was very, very painful. But it fired me to develop my own aesthetic. I was very much in pain about being this outcast, but it freed me to drop that Hollywood ideal and pursue the people that I thought attractive \u2026 My work is full of anger toward women. I was sent to Catholic school with scary nuns and I was rejected by girls at high school. I sort of got it out of my system, but anger is normal between the sexes. Okay, it can go to the top and men can harm women, but if anyone says they are not angry I don\u2019t believe it, especially while your libido is still going. The men who are most charming are often the most contemptuous.\u201d<\/li>\n<li>In which Eileen Myles gets paid for\u2014can you believe this?\u2014<em>writing poetry<\/em>. \u201c<a href=\"http:\/\/www.poetryfoundation.org\/harriet\/2016\/04\/times-ive-got-paid\/\" target=\"_blank\">A poem is my money \u2026 My poem is my property. Like my lawn.<\/a> I get a thousand dollars for a poem in\u00a0<em>Transparent<\/em> \u2026 I think <em>The\u00a0New Yorker <\/em>gave me something like $600 for the poem \u2018Dissolution.\u2019 It had been the most I had ever gotten for a poem I think. Sometimes now when I am asked to write a catalogue essay for an artist I realize I could do a poem and I propose that or simply send it. In those cases I have gotten $1500 for the poems which is the most. Yet it is low for an art catalogue so in a way writing a poem is a kind of complaint. Here take a fucking poem for that price. I mean it doesn\u2019t literally feel that way but I\u2019m always looking for the easiest way for language to pour. Especially in relationship to cash.\u201d<\/li>\n<li>Thirty years after the Chernobyl accident, the Zone remains a strange kind of literary center: \u201c<a href=\"http:\/\/www.theatlantic.com\/entertainment\/archive\/2016\/04\/chernobyls-literary-legacy\/479769\/?utm_source=SFTwitter\" target=\"_blank\">the Zone has spawned a literary genre of its own<\/a>. Indeed, it seemed instantly to pass into myth, even possessing its own poetic language. The soldiers and firefighters who cleaned up the site\u2014many of whom died from exposure\u2014are referred to as the liquidators. Reactor Four remains encased in a concrete-and-steel shell known as the sarcophagus. In the Zone, there is a Red Forest; there was black rain \u2026 Through three decades of literary response, Chernobyl has undermined the sort of authoritative depiction that might bring closure. But something closed can be forgotten. The finest works express profound doubts about the power of language to absorb a disaster of this magnitude, and so continually reopen it to new ways of being remembered.\u201d<\/li>\n<li>Midcentury British boarding-school novels\u2014sensible, stuffy, strict\u2014wouldn\u2019t seem to offer much in the way of contemporary ethical guidance. But Nakul Krishna, reading Edith Blyton\u2019s school stories, begs to differ: \u201c<a href=\"https:\/\/aeon.co\/essays\/what-enid-blyton-s-school-stories-taught-me-about-ethics\" target=\"_blank\">The schoolgirl\u2019s hell is not, as a character in Jean-Paul Sartre\u2019s play\u00a0<em>No Exit\u00a0<\/em>(1944) memorably puts it, other people; her hell is the isolated self, incapable of getting outside itself<\/a>. Time and again, the girls must be brought to their lowest ebb (ostracism, betrayal, near-fatal illness or, worse, near-expulsion) before they are offered a glimpse of self-knowledge and the chance to get back on their moral feet. Sometimes an apology will do it, or an acknowledgement, or some gesture of recompense to those harmed. But Blyton, like life, can be brutal: not every character is redeemed by the end of the series, and no character is straightforwardly rid of her vices. There is only the lifelong challenge of acknowledging the reality of other people.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>To celebrate the reissue of George Plimpton\u2019s sports oeuvre (Paper Lion, Out of My League, et cetera), you\u2019ll probably want to see these pictures of him doing one of the things he did so well: getting in over his head with very athletic men. Crumb has a new exhibition at a London gallery\u2014a surprisingly reputable [&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":[22083,22085,5365,14,1080,165,133,17582,22084,85,5806],"class_list":["post-97403","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-chernobyl","tag-edith-blyton","tag-eileen-myles","tag-george-plimpton","tag-money","tag-poetry","tag-r-crumb","tag-robert-crumb","tag-school-stories","tag-sports","tag-the-zone"],"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>R. 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Crumb Is Still Weird, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"April 26, 2016 \u2013 To celebrate the reissue of George Plimpton\u2019s sports oeuvre (Paper Lion, Out of My League, et cetera), you\u2019ll probably want to see these pictures of him\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/26\/dont-worry-r-crumb-is-still-weird-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=\"2016-04-26T13:56:35+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-04-26T14:39:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/crumb.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1152\" \/>\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 name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/26\/dont-worry-r-crumb-is-still-weird-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/26\/dont-worry-r-crumb-is-still-weird-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Don\u2019t Worry, R. 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