December 11, 2015 On the Shelf A Generic Statement About Haystacks, and Other News By Dan Piepenbring Claude Monet, Wheatstacks, Snow Effect, Morning, 1891. Our new Winter issue, hot off the presses, features poems from A New English Grammar by Jeff Dolven. One of them, “*The Haystack’s Painting,” has occasioned a roiling linguistic-grammatical debate at Language Log. “I would have no problem with a sentence such as ‘We sat in the haystack’s shadow’ in any case, but the case at hand is not a generic statement about haystacks,” one reader writes: “The body of the poem personifies the haystack, so it seems perfectly consistent that the title does also. If the reader is caught short by the title, only to have the tension relaxed by personification in the following lines, this is to the poet’s credit.” Another says, “I’m not quite sure what’s being considered ungrammatical about ‘The haystack’s painting.’ Haystack is a noun; nouns have possessive forms. It’s certainly unusual to consider the subject of a painting to be the ‘owner’ of that painting, but I think it’s quite an effective poetic device here.” The poet Stephen Spender kept his sexuality a secret—a burden he managed only with the belief that leading a double life was completely ordinary for a writer. “In the 1990s, when literary parties were more fun, or I was more fun, I used occasionally to see Stephen Spender,” Andrew O’Hagan writes: “there he was, the establishment on quivering legs, queer as a chocolate orange but safely married. (When I spoke to him, I discovered he could flirt with his eyes shut.) … ‘Just do your thing,’ one wishes to say to him, but he was doing his thing, and part of that thing was not really to know what his thing was. Sexual identity gets all the limelight, but sex itself wasn’t particularly important to Spender and the freedom he harped on about, and feared losing as a result of his domestic decisions, was the freedom to write as he wanted to.” Today in length: books have more of it than ever. A survey found that the average number of pages in a book has increased by 25 percent since 1999—to four hundred pages. “The real struggle is publishing an unremarkably-sized book,” one agent says: “the most difficult area now appears to be the middle. Mid-list, mid-career, middle-sized—in fact anything that’s middling.” Jewels, vases, statues, masks, vessels … you name it, the Ancient Greeks had it in gold. And now this plunder is ours, all ours: “We learn a great deal about Greek art by being grave robbers. The immensely privileged eased themselves into the afterlife with much of the booty that had cushioned their time on earth. It seems they aimed at taking along enough symbols of power and wealth to get whatever passes for honor in the underworld. Greek and Roman rulers and victors wore wreaths more often than crowns; so we find gold imitations of the rich foliation of crowns made from different tree branches. Phillip II was buried in an underground miniature temple wearing an oak leaf wreath made with stunning realism by his little army of goldsmiths.” People have been flying in the movies for more or less as long as they’ve been flying in real life. The plane, in cinema, has long functioned as an essential piece of visual vocabulary, and also as propaganda. During World War II, the military commissioned directors like William Wyler to bring a glorious variant aerial combat into movie houses: “Wyler and his crew embedded (as we might now say) with the 91st Bomb Group. They took their sixteen-millimeter cameras on bombing runs … The results of his time with the 91st Bomb Group were assembled into a short documentary called Memphis Belle (1944), which James Agee praised for its immediacy. ‘I could not guess which shots were re-enacted and which were straight records,’ Agee confessed, and postwar movies would often aspire to induce precisely this confusion. Agee had an ethical commitment to documentary, and a temperamental suspicion of artifice, and during the war his insistence on the literal, visceral truth reflected the biases of the filmmakers themselves, who often battled Army censors over how much unvarnished reality they could show.”
December 10, 2015 From the Archive Favorites from the Archive By The Paris Review Fact: nearly every one of the 214 back issues in our archive, going all the back to 1953, is available for purchase—and they make great last-minute gifts. We’re recommending few of our favorites: the undisputed classics, the oddities, the sleeper hits. A Writers at Work interview with Rebecca West (Q: “Are there any advantages at all in being a woman and a writer?” A: “None whatsoever.”); fiction by Faulker and Gass; an epistolary squabble between Laura (Riding) Jackson, Martha Gellhorn, Stephen Spender, and the ghost of Yeats; work by thirty-eight poets, including Brainard, Sexton, Creeley, Schuyler, Baraka, and Swenson, and much more—there’s nothing not to love in the double-size twenty-fifth-anniversary issue from Spring 1981. And, perhaps best of all (which is saying a lot), issue 79 contains “The Paris Review Sketchbook,” a hundred-plus-page, mischievous oral history of the Review’s first quarter century: “Literary magazine people never work. They spend hours on end playing pinball machines in cafés.” —Nicole Rudick Read More
December 10, 2015 Arts & Culture The Displaced Person By David Griffith Reading Flannery O’Connor in the age of Islamophobia. Illustration: June Glasson, for Farrar, Straus and Giroux At a little more than fifty pages, “The Displaced Person” is one of Flannery O’Connor’s least anthologized stories—and if you share her beliefs about what she called “topical” stories, it’s also one of the most problematic. O’Connor was wary of stories that focused squarely and perhaps sentimentally on social issues. Her own “Everything that Rises Must Converge,” featuring a bigoted white woman riding a newly integrated bus, was, she feared, just such a story—though in a letter to a friend she confided that she “got away with it … because I say a plague on everybody’s house as far as the race business goes.” In the very same letter, O’Connor writes that “the topical is poison,” lambasting Eudora Welty’s famous story “Where Is the Voice Coming From,” written from the point of view of the man who assassinated the civil rights leader Medgar Evers. “It’s the kind of story that the more you think about it the less satisfactory it gets,” O’Connor wrote. “What I hate most is its being in the New Yorker and all of the stupid Yankee liberals smacking their lips over typical life in the dear old dirty Southland.” Like many in the South, O’Connor abhorred racism but was slow to embrace integration, feeling that to rush things would lead to more violence. This stance may have been part and parcel of her attitude toward topical writing. To be topical, she thought, was to risk arguing for social changes that couldn’t be brought about by mere idealism, but by the hard, messy, and sometimes violent work of transforming hearts. Read More
December 10, 2015 Our Daily Correspondent Identity Crisis By Sadie Stein Lois Maxwell, the original Miss Moneypenny. “Mr. Bond, they have a saying in Chicago: ‘Once is happenstance. Twice is coincidence. The third time it’s enemy action’.” ―Ian Fleming, Goldfinger In kindergarten, no one but Michael L. had actually seen a James Bond film. (Michael L., as opposed to Michaels A. and T., was very sophisticated, and his parents let him watch lots of movies.) But thanks to Michael L., we knew all about them: James Bond was a spy who wore a suit. He had girlfriends called Octopussy and Pussy Galore, presumably because he liked cats. He often said “Bond. James Bond,” and sometimes “007: License to Kill.” Armed with this information, we played James Bond every day at recess. Michael L. was always James Bond. My best friend was one of the cats; it varied. I was Moneypenny. Read More
December 10, 2015 Books Whiting Winners Choose Their Most Influential Books By Whiting Honorees Last March, we announced the ten winners of this year’s Whiting Awards, given annually to writers of fiction, nonfiction, poetry, and drama, based on early accomplishment and the promise of great work to come. Now we’ve asked eleven Whiting winners, past and present, to write about the books that have influenced them the most—a list to bear in mind as you choose your holiday reading. —D. P. Read More
December 10, 2015 On the Shelf Lighting Up the Greed Decade, and Other News By Dan Piepenbring Sandy Skoglund, Sound of Food, 2005. Image via Slate/Ryan Lee Gallery Eve Sedgwick, the groundbreaking queer theorist, died in 2009. Since then, her husband, Hal, has maintained her apartment—they lived in separate ones—as an archive, amassing all her work, her belongings, and even her cat. Jane Hsu spoke with him: “ ‘The idea of having one love in your life was not an aspiration for us,’ Hal said, when I ask him what it was like to be the primary love object of a queer theorist who wrote so prolifically about the complexities of desire and relationships. Later, Hal referenced D. W. Winnicott’s concept of the ‘holding environment,’ in which the mother creates a safe space for the child that allows the child to then look out into the world, to think about something else beyond the mother’s care. Eve used this idea in her work. Hal offered it as a way of thinking about what they both did for one another.” Do you know a sad professor of English? Sure you do—they’re everywhere. And their sadness is justified: “Socialization to the discipline,” Lisa Ruddick explains, “has left them with unaccountable feelings of confusion, inhibition and loss … The progressive fervor of the humanities, while it reenergized inquiry in the 1980s and has since inspired countless valid lines of inquiry, masks a second-order complex that is all about the thrill of destruction … These days nothing in English is ‘cool’ in the way that high theory was in the 1980s and 1990s. On the other hand, you could say that what is cool now is, simply, nothing. Decades of antihumanist one-upmanship have left the profession with a fascination for shaking the value out of what seems human, alive, and whole … We will find scholars using theory—or simply attitude—to burn through whatever is small, tender, and worthy of protection and cultivation. Academic cool is a cast of mind that disdains interpersonal kindness, I-thou connection, and the line separating the self from the outer world and the engulfing collective.” In the eighties, Sandy Skoglund was struck by a disparity she saw throughout New York, where Wall Street and crime rates were soaring side by side. She began to photograph the city, and now she’s made a series of collages, “True Fiction,” that try to capture the aura of that decade with stark contrasts and bright colors. “I never saw a particular implied narrative other than astonishment, which was a mirror really of my own experience of the contradictions of New York City and living in the 1980s … I hope they have a kind of transcendent quality that does allow a kind of open interpretation and not just an ahistorical document.” Whither the black detective novel? In 1950, Hughes Allison wrote the first black detective story, in Ellery Queen’s Mystery Magazine. And there was John Ball’s In the Heat of the Night, from 1965, with its iconic Mister Tibbs, who’s more a construction of blackness than a realization of it. And after him? “It would take another two and a half decades after In the Heat of the Night for the next iconic black detective character to emerge, Easy Rawlins, from Walter Mosley’s Devil in a Blue Dress (1990). Mosley didn’t just live in the skin of Rawlins, a post-World War II private eye, he breathed his entire experience of America, contemporary and the past, into the character … For a moment in the 1990s, after Walter Mosley and Devil in a Blue Dress, crime fiction made room for more black writers. But then writers like Eleanor Taylor Bland, Penny Mickelbury, Paula Woods, Charlotte Carter, and others perhaps fell away in the relentless turnover of the publishing industry: canceled contracts, merged companies, and shifting editorial priorities. In recent years, few black crime-genre writers have reached Mosley’s level of popularity.” Next year, the SAT’s verbal section will do away with a lot of treasured vocabulary: recalcitrant, accretion, grandiloquent, plenitude, diaphonous. There’s only one way to see these words off—to use them all in one short story. Ann Wroe gave it a try: “Joe’s hour had come. Impetuous, redoubtable and sanguine (though fully cognizant of looming disaster), he seized the damsel’s hand. Exit was exigent. She was not apathetic, or obdurate, or truculent, but surprisingly amenable. Together they raced down the nearest conduit to the street. Behind them, a maelstrom of flame became a conflagration. Ubiquitous gray ash poured from the sky. But as they paused, at last, to recover their breath, all that seemed quite tangential.”