{"id":98406,"date":"2016-05-20T09:23:14","date_gmt":"2016-05-20T13:23:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98406"},"modified":"2016-05-20T10:25:42","modified_gmt":"2016-05-20T14:25:42","slug":"everything-is-now-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/20\/everything-is-now-and-other-news\/","title":{"rendered":"Everything Is Now, and Other News"},"content":{"rendered":"<div id=\"attachment_98408\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/1399237_orig.jpg\" rel=\"attachment wp-att-98408\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98408\" class=\"wp-image-98408\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/1399237_orig.jpg\" alt=\"\" width=\"600\" height=\"314\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/1399237_orig.jpg 675w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/1399237_orig-300x157.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-98408\" class=\"wp-caption-text\">A still from <i>Kaili Blues<\/i>.<\/p><\/div>\n<ul>\n<li>Today in things to do with your extra $600,000: buy a rambling 1950 letter from Neal Cassady to Jack Kerouac. It\u2019s sixteen thousand words \u2026 it\u2019s on paper \u2026 any more questions? \u201c<a href=\"http:\/\/artsbeat.blogs.nytimes.com\/2016\/05\/18\/long-lost-letter-from-neal-cassady-to-jack-kerouac-headed-to-auction-again\/?_r=1&amp;mtrref=undefined\" target=\"_blank\">The missive, known as the Joan Anderson letter, after a woman with whom Cassady described an amorous relationship, had been known only from a fragment, apparently retyped by Kerouac, that was published in 1964<\/a>. In an interview in 1968, Kerouac said he had got the idea of the \u2018spontaneous style\u2019 of <em>On the Road<\/em> from \u2018seeing how good old Neal Cassady wrote his letters to me, all first person, fast, mad, confessional, completely serious, all detailed, with real names in his case, however (being letters) \u2026 It was the greatest piece of writing I ever saw, better\u2019n anybody in America, or at least enough to make Melville, Twain, Dreiser, Wolfe, I dunno who, spin in their graves,\u2019 Kerouac said. After receiving the letter Kerouac lent it to Allen Ginsberg, who passed it along to another poet, who was living on a houseboat, who \u2018lost the letter, overboard, I presume,\u2019 Kerouac said.\u201d<\/li>\n<\/ul>\n<ul>\n<li>What if you\u2019re a bad writer? It can happen to anyone, at anytime, without warning. Toby Litt teaches you the warning signs: \u201c<a href=\"http:\/\/www.theguardian.com\/books\/2016\/may\/20\/what-makes-bad-writing-bad-toby-litt?CMP=twt_gu\" target=\"_blank\">It\u2019s possible that you\u2019ve never had to read 80,000 words of bad writing. The friend of a friend\u2019s novel. I have. On numerous occasions. If you ask around, I\u2019m sure you\u2019ll be able to find a really bad novel easily enough<\/a>. I mean a novel by someone who has spent isolated years writing a book they are convinced is a great work of literature. And when you\u2019re reading it you\u2019ll know it\u2019s bad, and you\u2019ll know what bad truly is \u2026 Often, the bad writer will feel that they have a particular story they want to tell. It may be a story passed on to them by their grandmother or it may be something that happened to them when they were younger. Until they\u2019ve told this particular story, they feel they can\u2019t move on. But because the material is so close to them they can\u2019t mess around with it enough to learn how writing works. And, ultimately, they lack the will to betray the material sufficiently to make it true.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Everyone wears clothes, which would seem to suggest that they\u2019re important to the whole human gestalt. And yet philosophers give them short shrift\u2014why? \u201c<a href=\"https:\/\/aeon.co\/essays\/why-does-philosophy-hold-clothes-in-such-low-regard\" target=\"_blank\">How could we ever pretend that the ways we dress are not concerned with our impulses to desire and deny, the fever and fret with which we love and are loved<\/a>? The garments we wear bear our secrets and betray us at every turn, revealing more than we can know or intend. If through them we seek to declare our place in the world, our confidence and belonging, we do so under a veil of deception \u2026 Dress can bind and constrain us; its regulated repertoire is a bondage estranging us from truer, freer, more naked realities. E. M. Forster wryly cautions us to \u2018Mistrust all enterprises that require new clothes,\u2019 but his own prim English Edwardian elegance was the keeper of his undisclosed confidence, sexual and otherwise.\u201d<\/li>\n<\/ul>\n<ul>\n<li>The Chinese director Bi Gan\u2019s debut, <em>Kaili Blues<\/em>, contains among other cinematic oddities a forty-one-minute single take through the windshield of a car. (Don\u2019t worry, the car is in motion.) \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/05\/19\/new-language-chinese-film-kaili-blues\/\" target=\"_blank\">Bi, who was twenty-six when he made <em>Kaili Blues<\/em>, seems primarily concerned with developing a film language that treats memory as a tangible thing<\/a>. Objects here are pieces of time. In addition to searching for the boy, Chen agrees to look up a man who had once been his elderly co-worker\u2019s lover and present him with several remembrances\u2014including a shirt that had long ago been intended as a gift and a tape cassette of old pop songs. Bi is hardly the first director to dramatize temporal space or to seek to replace chronology with simultaneity. Alain Resnais and Chris Marker come immediately to mind. Bi is, however, less analytical and more intuitive. <em>Kaili Blues<\/em> is prefaced with a quote from the Diamond Sutra to the effect that Everything is Now. Past thought cannot be retained, future thought cannot be grasped, and present thought cannot be held. Go with the flow. It\u2019s a fair warning.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Whit Stillman\u2019s new film is an adaptation of Jane Austen\u2019s <em>Lady Susan.\u00a0<\/em>And though it shocks me to report this, I\u2019m afraid he had the audacity to make the movie without ever having read Austen\u2019s handwritten manuscript for the novel. I know. He must\u2019ve just read some paperback edition or something. Fortunately\u00a0<em>The New Yorker<\/em> remedied that: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/whit-stillman-pays-a-visit-to-jane-austen?intcid=mod-latest\" target=\"_blank\">Stillman met me at the Morgan Library to inspect one of the collection\u2019s treasures: Austen\u2019s handwritten manuscript of <em>Lady Susan<\/em>, which also happens to be the world\u2019s only full surviving manuscript of any of her works of fiction<\/a> \u2026 Even among ardent Austen fans, <em>Lady Susan<\/em> is pretty obscure. Austen wrote it when she was about twenty, as a family amusement, not intended for publication. The novella is epistolary in form, which sets it apart from her later novels, as does its heroine\u2014if \u2018heroine\u2019 is even the right word for Lady Susan Vernon, a lovely, penniless young widow who ruthlessly manipulates handsome men to serve her amorous needs and rich men to handle her financial ones \u2026 \u2018There are people who are passionately admiring of her <em>real<\/em> juvenilia, but I\u2019m not one of them,\u2019 he said, breezily, when asked about Austen\u2019s even earlier novella <em>Love and Friendship<\/em>, the source of his film\u2019s title. \u2018A fifteen-year-old wrote that. Great. But I think it does a disservice to Jane Austen to make a big deal about those things. I think this\u2019\u2014he gestured toward the pages before us\u2014\u2018is when she started writing really seriously, you know, and really beautifully.\u2019\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Today in things to do with your extra $600,000: buy a rambling 1950 letter from Neal Cassady to Jack Kerouac. It\u2019s sixteen thousand words \u2026 it\u2019s on paper \u2026 any more questions? \u201cThe missive, known as the Joan Anderson letter, after a woman with whom Cassady described an amorous relationship, had been known only from [&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":[14660,22450,22451,12203,5127,300,22452,22453,182,16165,7403,2979],"class_list":["post-98406","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-auctions","tag-bad-writing","tag-bi-gan","tag-clothes","tag-jack-kerouac","tag-jane-austen","tag-kaili-blues","tag-lady-susan","tag-letters","tag-neal-cassady","tag-philosophy","tag-whit-stillman"],"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>Bi Gan\u2019s Film \u201cKaili Blues\u201d Has a Majestic 41-Minute Take<\/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\/05\/20\/everything-is-now-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Everything Is Now, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 20, 2016 \u2013 Today in things to do with your extra $600,000: buy a rambling 1950 letter from Neal Cassady to Jack Kerouac. 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