Quantcast
Channel: Recently on This Recording
Viewing all 1192 articles
Browse latest View live

In Which We Thought We Had Spent Too Much Time Apart

$
0
0

Days of Discipline

by TAYLOR HINE

I was an anxious child and grew into an anxious teenager. As such I often found it difficult to make and keep friends; I thrived on the approval of others, a quality that I have come to fully realize only recently.

It makes sense that my oldest friend – whom I met when I was six years old, though we didn’t become very good friends until a couple of years later – was someone whose approval I sought consistently. I did not have many girl friends when I was younger. Vicki and I formed a friendship in which she dictated what games we played and suggested which series of books we should read together next; she was the leader and I was the follower. I wasn’t disturbed by this friendship because she and I were similar in many ways; she introduced me to the books I would treasure for years to come, as well as many movies and TV shows.

I lived for sleepovers at Vicki’s house. I didn't dare invite her to mine, for fear of her witnessing one of my parents’ all too frequent screaming matches. Her house was comfortable and, really, it was tranquil compared to mine. It always smelled of dogs and was covered in a very fine layer of dust and pet hair that went flying whenever someone sat down on one of the overstuffed couches. She had an older brother, about ten years older than us, who was heavily into science fiction; his model ships were often in the process of being built atop the glass-topped coffee table, underneath which were stacked dozens and dozens of Star Wars and Star Trek novels. A hamster cage sat in front of the fireplace; her cat, Aramis, dozed on a cushion nearby. The tall trees surrounding the house rarely, if ever, let in direct sunlight, despite the windows extending from the floor to the ceiling; this was deep in southern Louisiana, after all.

Vicki and I would stay up late reading and watching VHS tapes in her parents’ room while they watched Frasier or Buffy the Vampire Slayer in the living room. Sometimes we would sit in opposite corners of her room (it was painted purple – it never occurred to me that I could ask for a different paint color in my own room) with notebooks propped on our knees and write stories, which we would then swap and read. Her stories were magical and full of mystery – more imaginative than my adventure stories, or so I thought at the time. She was an incredibly talented artist, and this was something I vaguely felt like I had to compensate for in my own creative life. This is not the reason I turned to writing at a young age, because she wrote, too.

Her parents were always kind to me and facilitated our friendship by taking us to places like the aquarium, the zoo, and even out to dinner. I felt like an integral part of their family. Their voices were foreign and kind; her mother, Stella, was born in England, her father, Peter, in Scotland.

About a year and a half later, my family and I moved back to Denver, Colorado, where I was born. This was just a few short months before 9/11. For the next few summers, Vicki and I would visit one another; first my parents and I drove back to Slidell and stayed for a few days, two of which I spent at her family’s house. There had been a blizzard back home before we left – at least five feet of snow was still on the ground when we made our way through the snow-plowed streets – and it was completely melted by the time we arrived home, and everything that grew was the greenest and brightest I had ever seen.

The summer we were eleven going on twelve was different. Throughout our time apart, Vicki and I wrote relatively frequent letters to one another, but they had become less so around that time. We were both inside our own heads; it was just beginning to dawn on us teenage girls that we had bodies and real thoughts that could potentially matter. Vicki flew out to see me for the first time. When she arrived, she had grown significantly taller, she looked thinner, and her hair was cut very short. She looked far more grown up. I wasn’t sure how I looked compared to her, but I was shorter and felt, well, stocky, even though I’ve never come close. As is the case with girls just growing into adolescence, she had also become incredibly self-assured. I noticed her self-assurance and took it as arrogance without ever quite acknowledging that I, too, thought I knew everything. She stayed for two whole weeks, the longest time we had ever spent together at a stretch. I was ready for her to leave about a week in, and this worried me. I thought our friendship was flawed, or that we had spent too much time apart to ever be able to be best friends again.

The following summer, I flew down to spend two weeks with Vicki and her family. Stella had a teacher’s conference in Nashville, Tennessee, so we loaded up the car and drove. This was the same summer that the sixth Harry Potter novel was released, as was Charlie and the Chocolate Factory – you know, the one starring an especially eccentric Johnny Depp and the especially creepy Oompa Loompas. Vicki and I got along better during this trip; there was more to occupy our attention. Her parents took us to the midnight release of Harry Potter and the Half-Blood Prince; we were sixth in line, and we read the novel all the next day on the drive back to Slidell.

I will never forget this trip because of what happened on that drive back. We stopped to eat at a Cajun restaurant called Copeland’s when we finally reached Slidell. Vicki and I were in the backseat, each looking out of our own windows when I smelled something strange and metallic. The skin between my legs was moist, but I assumed it was from the hot humidity. I pulled my legs apart slightly and looked down; the crotch of my denim shorts was darkly stained. I didn’t know what was happening, and I didn’t know when it was going to happen. I wasn’t told it was going to happen now. I put my hands underneath me to keep the seat traceless.

“Vicki,” I said softly. She turned, noticing the odd way I was sitting.

“Yeah?”

Peter parked the car outside the restaurant.

“I’m bleeding,” I whispered. Her eyes widened. She understood. She leaned forward to her mother in the passenger seat and whispered into her ear. Stella glanced back at me fleetingly. She got out of the car and untied her jacket from around her waist. I waited for her to open the door for me; I didn’t want anyone to see me. I felt small, changed, ashamed, ashamed of being changed and of being small.

Peter opened the door for me and Stella stood there with the jacket, ready to help me tie it around my waist. I took it from her and tied it myself while staring at the ground. I lingered behind the parents, behind Vicki even, as we walked inside. I walked with my inner thighs pressed together; I was certain that everyone around me could smell the blood.

After the hostess led us to our table, Stella said to Vicki, “Take her to the bathroom.” She did not say this unkindly, but she was brusque.

“I don’t know what to do,” I told Vicki as soon as the bathroom door swung closed. “I didn’t know when this was going to happen. I’m sorry.” I couldn’t look at her; I stared at her shoes.

“It’s okay. Are you feeling okay?”

I looked down at myself and threw up my hands. “Yeah, I mean, I feel fine.” Then, suddenly, a knife was being pounded into each of my hips.

“Ow.” I winced. “I have sharp pains here.” I put my hands over my pelvic bones.

“You should stuff some toilet paper in your underwear to soak some of it up until we get home. My mom has pads you can use,” she said impatiently.

I went into a stall, embarrassed that I didn’t think of that first. I looked at her feet underneath the stall door and heard her sigh. I ripped through the toilet paper and made a makeshift pad. Now I knew what the silver dispensers in women’s restrooms were for.

I swung the stall door open; its penetrating squeak broke the silence. I looked at Vicki, and she stared back at me, unblinking.

“Has this ever happened to you?” My voice was barely above a whisper. She shook her head.

“Let’s go order our food,” she said, and held the door open for me. I walked through, making sure the jacket was tight around my waist. I let her slide into the booth first, just in case I had to make another dash to the bathroom.

Peter offered me a small smile and I returned it.

“You can call your mother when we get home,” Stella said. “Are you all right?”

“Yeah, I’m good,” I said assuredly.

I don’t remember the rest of the day now. My mother asked me every detail of what happened and I told her.

“Well,” she said, “you’re growing up.”

“I had no idea what to do, Mom,” I said angrily. “Why did no one tell me this was going to happen?”

“Well, did you pay attention in your sex education class?” she snapped.

“Of course I did. At least, I paid attention until I was too embarrassed to pay attention to anything anymore. I didn’t know how old I would be before this happened. I’m twelve. You should have told me.”

She was silent. “Well, it happened,” she said finally. “Has Vicki ever had her period?”

“No,” I said. “She didn’t seem very understanding. She was a little impatient,” I added.

“Well, there you go, then,” my mother said, as though this should so obviously explain her reaction.

I thought about this for the next few days as Vicki talked to me less and less. She avoided my eyes. She often went off on her own, into the dining room to work on her art, or into her room to read. I stayed in my own room and tried to forget about the pains that were still there. When Vicki finally was ready for me, she would invite me to come and watch a movie with her, and I would eagerly accept.

We spent the last few days of the trip like this, and again, I was relieved to part with her again. We didn’t talk about what happened; I thought about what my mother said and how she and her mother had both reacted and didn’t want to bring it up because the last thing I wanted was a conflict. Stella had had to help someone other than her daughter through her first period; Vicki had had to witness my first period without having it herself. We never talked about it again.

The last time we saw each other was when my parents were still together; it must have been at least seven years ago. Vicki and her parents flew to Denver to meet up with her older brother, Richard, for some reason I can’t remember now. We lived a short distance from the airport, so we picked them up, and Vicki ended up spending the night with us while her parents went back to their hotel after visiting with us.

She and I stayed up swapping stories about boyfriends, a ritual denied us in the past; we only wrote about such things in letters and had never had the chance to talk about them face-to-face, giggly and coyly, as girls do. She showed me her sketchbook, and I showed her what books I had been reading recently. We watched the 1970’s cartoon movie of The Hobbit and, for whatever reason, laughed our asses off. We were always able to find humor in everything we watched.

We’ve never stopped writing letters. She’s told me several times that even though we’ve lived apart for the majority of our friendship, it has meant the most to her over the years. I tell her confidently that I feel the exact same way. Our letters throughout college have taken an especially personal turn; this is a time of more than just boys and lost friendships, though I do not mean to belittle our histories. We expect to be seeing each other in the very near future; after all, we’ll both be graduating soon, and there will be no excuses this time.

For a long time, I thought that we wouldn’t remain friends. I thought a good deal about how we were as children; she led the way and I followed her into whatever she found interesting. I resented her for this, when really, we were bound to grow apart somehow, whether it was geographically or not. We held on to the friendship and didn’t let it dissipate. That’s all that we can really ask of each other over such a great distance – that’s all that we want to ask of each other.

Taylor Hine is the senior contributor to This Recording. She is a writer living in Denver. She last wrote in these pages about Cat Power. She tumbls here. You can find an archive of her writing for This Recording here.

"She's Not Me" - Jenny Lewis (mp3)

"Slippery Slopes"-  Jenny Lewis (mp3)

 


In Which We Sorely Desire To Expiate All Of This

$
0
0

Hard to Say is This Recording’s weekly advice column. It will appear every Wednesday until the Earth perishes in a fiery blaze, or until North West turns 40. Get no-nonsense answers to all of your most pressing questions by writing to justhardtosay@gmail.com or by dropping us a note at our tumblr.

Hi,

I have an etiquette question. I chased after a guy (coworker) I liked for a solid month, coming on strong and trying to get him to ask me out. Well, he must have just needed some convincing, because he finally took the bait and we got dinner one night. It was horrible. So boring, predictable conversation, nothing like the guy I’d been imagining. Turns out he’s exactly the sort of guy I don’t want to date. The worst part is that at the end of the date he seemed REALLY happy, and said, “I’m so glad we finally did this, can we go out again?” I felt really bad – I had chased HIM, after all – so I sort of mumbled yes and then ran into my building. Now I have to go out with him again, even though I’m pretty sure my brain will melt out of my ears while I listen to him talk. Is there a way for me to magically take back the time I spent chasing him like a crazy person? Should I just go out with him and hope for the best? Is there a nice way to say “Thanks, but no thanks?”  

Jenny F. 

 

Dear Jenny,

This is hardly a matter of etiquette. You’re asking for permission to do something you already know you have a right to do: not like somebody as much as they like you. This is not a tragedy. It happens every single day.

Since I can easily see you “nice-ing” yourself into cohabitation, marriage, and children, here’s what you’re going to do. You are going to remind yourself that you are a human with complicated desires (maybe watch several seasons of House Hunters in a row to help yourself come to this conclusion). Maybe ask yourself why you didn’t see how boring this individual was in the month you spent chasing him.

Then, give him a call (no text, no approaching the guy at work) and explain, “Pinky, thanks for the other night, but I don’t see this going anywhere. Good luck with the office shuffleboard tournament.” 

Hey,

I’ve been seeing this guy who chews gum all the time. Like, literally, from the moment he wakes up until he goes to bed. He takes it out of his mouth and puts it on the side of his plate when he’s eating, and then picks it off after the meal to continue chewing it! If this wasn’t bad enough, he also chews gum during sex. He once went down on me… I think you get the picture. Anyways, would it be too nit-picky to ask him to stop, at least during meals and sex? I’ve never thought of myself as a controlling person before, but now I’m not so sure. Otherwise, he’s a great guy.

Allison A.

Dear Allison,

Oral fixations are only fun when they’re… well, I think you get the picture. Suggest to your paramour that you think he may have been weaned prematurely, and that he should speak to a licensed mental health professional about it. While he’s pondering this, hide his Doublemint stash.

When he goes berserk and starts smoking, chewing on pen lids, or sucking his thumb, you’ll come to the realization that you are not the problem in this arrangement. It’s not a crime to have preferences and to voice them, especially with humorous aplomb.

Example: “Darling, last night when your Juicy Fruit got caught in my pubic hair, it was really funcomfortable.” Or, “Snookums, recycling is only cool if what you’re recycling hasn’t been in your mouth or on your plate where I could see it while I was trying to choke down escargot.”

Illustrations by Mia Nguyen.

"Rainy Taxi" - Spoon (mp3)

"Inside Out" - Spoon (mp3)

In Which Into Each Life Some Construction Must Fall

$
0
0

At St. Patrick's

by MARK ARTURO

He's the the only man I regret.

Stress comes and goes in waves at this time. Recently I read a novel about the adventures of a bird in a human's body. The bird becomes very depressed, as you might imagine, and eventually catches a cold because he gets claustrophobic in rooms and has to walk the streets. Eclipsing what I believed the basic difference between a bird and a man, he is disappointed to be so large.

This is the first fact of being a man he understands as difficult, and strains at it.


I have been a man since the early 1980s. This was a low period for St. Patrick's Cathedral. They had plenty of money, but not so many parishioners. This is what the security guard at the North door tells me. I am not allowed to bring the only object into St. Patrick's that I would really like to, which is a miracle.

The bird eventually, and I read this on wikipedia since I could not finish the book, becomes obsessed with Ella Fitzgerald and wishes to meet her. The novel kind of had Blade Runner vibes. I wouldn't recommend it.


I remember my first teacher on the subject. She told me that the thing people do most often that gives them away is they blink too much. You can't measure a heartrate from across the room.

Spending a lot of time in the cathedral has its perks. You've never seen construction workers so well-behaved and giggly. Jesus, I think, would love these men. The only thing that reminds me of our lord, then, is something outside of the church, that seems to be preying on it as it reinstates a fastidiousness of purpose I have always found entirely at odds with faith.

There was a certain amount of time, as a mere child, when I questioned the ways of this place.

If faith was for everyone, then it would be meaningless. Defined by his most moral enemy, Michael came to earth, not bothering to disguise the fact that he was the greatest of angels. He asked all his devout, "Do you think I appear this way to those who displease me?" and they shook their heads.

Some believed. You can walk out that north entrance to the cathedral to Saks Fifth Avenue, and it always feels seamless. When I knew the bishop here, he would never do any shopping - he hated the long escalators, the feeling of being in a rat's maze. He said, "A holy place can be nicer than a store, a factory, a restaurant. But it seems it always is, and that's what makes me wonder. I keep waiting for someone to take iconography away from Christians, but they never grab the mantle solidly enough." I recall that I replied it was never ours to begin with.

Of course the bird in the human body misses flying the most. He goes to a man who he believes can restore him his wings. The man refuses to engage with the project unless he knows the reason the bird was changed into a man initially. So the bird inhales the laboratory air, and tells his best, last lie. He says it was an accident.

Keeping the cathedral open during its renovation was half a stroke of genius, half a gauche mistake. It makes me realize that this is a just a place like any other. You can't take pictures in the chapel area, because it's where the saddest of the believers position themselves, and one condition of their grief is that they not be observed by technology.

The bird man meets Ella Fitzgerald. Both of her legs are missing, and she is depressed. The bird man leaves disappointed.

I wish to meet Michael one day. I dream of it. I hope he will come to see me here, in this place, so I wait for him. If he does not come, I know it means he does not like this place. If he comes to Saks Fifth Avenue, I might assume he does not like St. Patrick's Cathedral, but it could be just that he slightly missed his mark. If he visits in my sleep I will try to tell him the miracle, which is this: sometimes I feel I have been on this earth for too long.

Mark Arturo is the senior contributor to This Recording. He is a writer living in Brooklyn. You can find an archive of his writing on This Recording here. He last wrote in these pages about JMW Turner's theory of color.

"Super Love" - Nick Howard (mp3)

"No Ordinary Angel" - Nick Howard (mp3)

 

In Which We Desire A Certain Male Individual

$
0
0

The Method

by ALEX CARNEVALE

A Most Wanted Man
dir. Anton Corbijn
121 minutes

Aesthetics are not my forte; and then, how is one to talk about color? It might be reasonably left to the blind to discuss then, just as we all discuss metaphysics, but those who have eyes know how irrelevant words are to what they see. - Braque

Philip Seymour Hoffman looks the part of a heroin addict in Anton Corbijn's A Most Wanted Man. Breathing heavily through his nose, puffing on disgusting menthol cigarettes through the entire film, he is a walking suggestion to children of all ages to avoid the rigors of injectable drugs. Shaking at times to even lift a cigarette to his mouth, he mumbles through this adaptation of a John Le Carre novel that begins when a Chechen terrorist enters Germany by sneaking in through a port.

Unfortunately, he is not playing a heroin addict, only a spy. But he doesn't let that stop him.

Robin Wright Penn observes Hoffman the way we would a water buffalo stranded by a bask of crocodiles. Reduced to a short-haired brunette so as not to outshine the beauty of an actress decades younger (Rachel McAdams), Penn plays the soft version of Claire Underwood she will be typecast as for the rest of her career. She and Hoffmann attempt to banter back and forth to keep A Most Wanted Man from slowing down to a crawl from sheer lack of inertia. 

There is not a whole lot going on in A Most Wanted Man. Hoffman leads a small anti-terrorist unit trying to set up the Chechen by getting to his lawyer, played by McAdams. It turns out that the reason the Chechen turned to the Muslim religion was because his mother was raped and murdered by a Russian. Subject to his rapist father's inheritance, he wishes to give the money away. Because his lawyer is cute, he gives her his mother's necklace.

Before he can do that, Hoffman and McAdams have an incredibly awkward interrogation scene in a bare cell. Neither has quite mastered the intricacies of a German accent, so the ensuing dialogue is mumbled by both parties. Despite the vagaries of lawyer-client privilege, McAdams gives up her client in a few hours. At some point you wish they would drop the pretense of the German accents and talk to each other like human beings.

Riding around Hamburg on her dopey bicycle, McAdams' face is a cartoon capable of surprise and polite apprehension; she barely even changes clothes in the movie. There is exactly one scene in A Most Wanted Man where she even moves her body at all, and that is to get on a train that allows her to lose an entire anti-terrorist task force. (Like much of what happens here, her escape is implausible.) McAdams' bleached hair and tired face make her arguably more disheveled than the Chechen refugee. I wasn't sure if the whole thing was a joke on Katherine Heigl's career or what.

McAdams negotiates with a president of a Hamburg bank (Willem Dafoe) over the massive inheritance her client is to receive. Dafoe, like his female counterparts, puts on a look of intense empathy for Hoffman throughout A Most Wanted Man, indicating that if his colleague were to say, keel over during a particular scene he would be there to catch him. You can't hide a basic look of concern and fear, and it is lucky for director Anton Corbijn (The Constant Gardener) that it fits with the theme of A Man Wanted Man.

Dafoe played characters older than this when Hoffman was in his thirties. Unlike his portly opposite act, Dafoe seems to be going backwards in time like Benjamin Button, while Hoffman hurtles towards an ignominous ending in a Greenwich Village apartment.

Watching a cast of non-Germans play residents of Hamburg doesn't really work at all, and so A Most Wanted Man comes across like a bizarre stage show enacted for no discernible reason.

We know these are a bunch of American and Canadian actors. They show it in the faces, their movements and even their dress. None of them know very much about Germany, but this should not really matter, since A Most Wanted Man is only concerned with the global war on terror, a subject completely dull in its intricacies and depressingly obvious on a macro level. Making it seem complicated or fascinating is a waste of everybody's time. 

It is impossible to faithfully portray any of these people. A Most Wanted Man reminds us how ineffectual acting can be at times, how little such fakery hinges on. Corbijn's spy thriller is partially ruined by the fact that we know Philip Seymour Hoffman is about to expire, that there is no chance whatsoever he is actually a man named Gunther. Obscured by his coming death, Hoffman's subtle gestures at character for his policemen are similarly useless  his hints of homosexuality and a relationship with a young Muslim scion he has employed as a spy resonate only with his own private life rather than any actual aspect of the character.

In one scene near the end of the film, a vignette only included to memorialize his star, Hoffman plays a few lonely bars on his piano. Corbijn tries to be impressively restrained in his eulogy, but it is hard to care about a vague sting operation that climaxes in the signing of a few documents when larger matters outside the diegesis are at stake, such as whether the world is even worth living in.

I used to think acting was easy. Then I tried it, and learned how difficult it was. It's lying, isn't it? That takes a toll.

Alex Carnevale is the editor of This Recording.

"What You Did To Me" - The Verve Pipe (mp3)

"Here In The Dark" - The Verve Pipe (mp3)

In Which Alfred Stieglitz Remains Possessive At All Times

$
0
0

Stieglitz's self-portrait, 1890

The Tiny Gospel

by ALEX CARNEVALE

America is going through a period of luxury and unrest bordering nearly on madness.

Alfred Stieglitz had left New York for Vienna in 1881. When he returned in 1890, the Big Apple was a completely changed city. The dark, dangerous metropolis Stieglitz had left grew incandescent in the evening, revealed by the onset of electrici

+

One aspect of the city became open to him, another closed. His parents wanted young Alfred to marry a spoiled 20 year named Emmeline, called Emmy. Before his wedding, Alfred Stieglitz burned the diary he had kept since he was nine.

Emmy refused to have sex with her new husband, but this was nonce to him. He continued photographing the city and its denizens, and even improved his piano-playing. He gave his new wife the silent treatment. Four years into the marriage, Alfred and Emmy Stieglitz conceived their only child.

Edward Steichen's photograph of Kitty and Alfried Stieglitz

To commemorate the occasion, the family moved into a new apartment on Madison and 84th. Their daughter Kitty quickly became the center of their conflict, with Stieglitz insisting on photographing the girl almost every second of her life.

Emmy and Alfred were now on speaking terms, but it never got much better than that. As Kitty grew older and remained under the influence of her mother, daughter and father too liked each other less and less. Stieglitz had little time for his family spreading the tiny gospel that was still photography occupied most of his waking hours. "I would rather be a first class photographer in a community of first class photographers," he pronounced, "than the greatest photographer in a community of non-entities."

+

Kitty graduated from Smith with honors in 1921. She had written her father many letters during her senior year at that Massachusetts college, bonding with him for the first time in her life with her mother in absentia. Since her parents were not speaking again, Alfred could not attend her commencement, but the two grew closer in the years that followed her marriage to a Boston salesman named Milton Stewart.

In June of 1923 Alfred became a grandfather when Kitty gave birth to a son. Severe bouts of postpartum depression dominated Kitty's days. She alternated lashing out at her father for his neglect of her with expressions of closeness. "I certainly failed in so many ways in spite of all my endeavours to protect and help her prepare herself for life," Stieglitz wrote. "I realize with every new day what a child I have been & still am absurdly so. It sometimes disgusts me with myself."

O'Keeffe and Stieglitz much later, in 1944

This experience completely convinced Alfred that having a baby with his girlfriend, an artist named Georgia O'Keeffe, was a terrible idea. He continued affairs with other women as well, and he did not want babies with them either. He wrote romantic letters to the wife of his friend Paul Strand, although a relationship with Rebecca Strand would only ever be consummated by Georgia. O'Keeffe was annoyed by Alfred's behavior, rebelling against it whenever she could, but she did tolerate it.

"Stieglitz wants his own way of living," Rebecca Strand told her husband Paul, "and his passion for trying to make other people see it in the face of their own inherent qualities really gets things into such a state of pressure that you sometimes feeling as though you were suffocating." Meanwhile, Kitty's condition had put her suddenly doting father in a weakened state. He made peace with Emmy and together they admitted Kitty into a gorgeous sanitarium in upstate New York.

+

Alfred Stieglitz was suddenly 60 and one of the world's most celebrated photographers. Kidney stones made his nights restless. He passed the time by reading Ulysses. The divorce from Emmy was final. The following summer his daughter was discharged from the hospital to a summer house at Sagamore Beach. He proposed to Georgia; she declined.

By the fall Kitty had been returned to the sanitarium. Her doctor came to Alfred with a proposal. If he married O'Keeffe, they suggested, Kitty might come to a peace of mind that would aid her recovery. In light of these circumstances, Georgia accepted her boyfriend's proposal after considerable pressure was exerted.

Kitty Stieglitz photographed by her father with her uncle Joseph

The hasty marriage would change nothing, however, and Kitty's behavior was that of an indolent teen. She never left the care of doctors, spending the next fifty years trying to get well before her death. Kitty never permitted her father to visit, but her mother Emmy came every single week.

+

"Marriage, if it is real must be based on a wish that each person attain his potentiality, be the thing he might be, as a tree bears its fruit - at the time realizing responsibility to the other party," Stieglitz explained to himself. He was impressively dedicated, even in old age, to thinking of very good reasons why he could not be a faithful husband.

Georgia's health problems complicated their new union, restricting her to bed rest. She was only just beginning to get well when Stieglitz met 21-year old Dorothy Norman. The girl who incessantly hung around Alfred's gallery, asking question after question, was married to the son of the founder of Sears. Edward Norman was a deeply disturbed person who was mentally, physically and sexually abusive to his wife.

Dorothy Norman

Stieglitz initially tried to put Dorothy's at an arm's length. By the time he really got to know her, she was pregnant with her first child, a daughter. Like Kitty, Dorothy was a Smith graduate. Georgia noticed her husband's admiration of the pregnant woman, and it upset her greatly. To appease O'Keeffe, Stieglitz tried to confine his expressions of love to secret letters. "I want to incorporate knowing you into my life," Dorothy wrote back, and in order to position herself as closely as possible to the photographer, commenced work on an article about Alfred that would become a book.

Georgia was more and more skeptical of Alfred's protestations that the friendship was not intimate. In her own interview with Dorothy, she found the college graduate annoying, pretentious and transparent. When Dorothy talked with Alfred at the gallery, he told her to sit far from him, "out of danger."

Into his life at this time came Lady Chatterly's Lover, his new favorite book.

When Georgia went off to a retreat, Stieglitz finally consummated the relationship with his young admirer. His descriptions of that moment are nauseating at best: "It was as I have never dreamed a kiss could be." He wrote, "We are are one - Every day proves it more and more to be true. Dorothy, do you have any idea how much IWY." The innovative use of acronyms made the tryst appear more than it really was: at first, the couple only kept things above the belt.

This consummation pushed Alfred in the other direction. Georgia was happiest in New Mexico, and Stieglitz endlessly complained about the time she spent there away from him. She felt his pull  "It is always such a struggle for me to leave him" but New York was not her favorite place. "I think I would never have minded Stieglitz being anything he happened to be," she told a friend, "if he hadn't kept me so persistently off my track."

Alfred's photograph of Dorothy Norman from behind

Even though Alfred thought nothing of cheating on his wife, he flew into a fury whenever he suspected that she might be unfaithful. The balance of their relationship was changing, however, as Stieglitz was increasingly financially dependent on his wife's flourishing artistic career. He was determined to improve his marriage.

Stieglitz still saw much of Dorothy, who had given birth to a second child. He photographed Dorothy Norman for the first time in 1930, when she was 25 years old. Alfred bought Dorothy a camera, and told her that he loved her. Each saw the relationship as a supplement to their marriage, and sought nothing more from one another. A friend wrote to Alfred that talking to Dorothy was like "talking to a mirror in which one didn't see oneself but someone else. She presents no problem, no burden or personality to be dealt with. One can be with her and at the same time alone with oneself."

+

"He was perhaps the most impressive person I have ever known," Dorothy wrote later. "Yet the greatness of what he expresses was in terms of how people must be non-possessive." Alfred Stieglitz demonstrated this principle by comparing his wife and his young girlfriend in a 1932 exhibition that was the talk of the art community.

Their professional ties were solid as well. Dorothy involved herself in Alfred's fundraising efforts at his request, for a gallery that she would run in his name. This closeness rankled Georgia even more, and she sunk into a depression partly brought on by a friend of Alfred's suggesting that she befriend Dorothy.

When Dorothy could not find a publisher for her manuscript of poems, Stieglitz demanded he publish them. This final insult pushed Georgia into the arms of the poet Jean Toomer, who she invited to stay with her on Long Island.

In the spring of 1936, Elizabeth Arden asked Georgia to paint a massive mural in her salon. More flush with cash than she had ever been, Georgia rented a penthouse on 1st Avenue to work on it, a cold, drafty, beautiful workspace. There Alfred suffered his first heart attack, ending his photographic career.

Alfred was now 74 years old. In his feebleness, the arrangement with Dorothy could be nothing more than close friendship. The affair dissipated without ever having a formal break. Both had provided something the other needed, is how Dorothy saw things, something essential and something clandestine. "There was a constant grinding like the ocean," O'Keeffe wrote of her husband. "It was as if something hot, dark, and destructive was hitched to the highest, brightest star. He was either loved or hated there wasn't much in between."

In the days that followed Stieglitz's small funeral, Georgia called up Dorothy Norman. She told Dorothy to clear all her stuff from the gallery, commenting that she found Dorothy's relationship with her husband "absolutely disgusting." After Alfred's death, Georgia O'Keeffe lived forty more years.

Alex Carnevale is the editor of This Recording.

"Had to Hear" - Real Estate (mp3)

"Paper Dolls" - Real Estate (mp3)


In Which We Answer A Series Of Pretentious Questions

$
0
0

Absolute Zero

by ELLIS DENKLIN

I am thinking carefully about everything Eva told me the night before. The look someone gets when they have heard too much: I tried not to show it.

Eva asked if I had ever been to Marrakech. I thought: What a fucking pretentious question.

Once, many years ago, I was with someone I thought was too good for me. This one was not like Eva. She would ask terrible questions all the time, e.g. "What do you think Lawrence Durrell was thinking when he wrote Justine?" or "Can I get egg whites on a flagel?" (A flagel refers to a flat bagel.) I looked up what happened to her yesterday: she does PR for Maybelline.


I was telling you what my girlfriend said last night that so appalled me. Other thoughts keep intruding. Did you know that scientists brought a molecule down to absolute zero? It was a mitzvah.

There is this episode of Alfred Hitchcock Presents where this hotshot business executive is driving on a long road trip, and his car gets totaled by a truck. He survives, but he is catatonic. Men come to take his bags and jewelry, never noticing that he continues to live. Other men come in prison jumpsuits and strip off his clothes. Right before they're about to toss his body in the incinerator, a coroner notices a single tear dropping from the executive's eye. That was basically the face I was making, last night.

I remember once, an evening like that not too long ago, she was asking me about my past. I felt like I had to reveal something, or else she might stop asking. "When was the last time you were in love?" she managed. First I said, "Murphy Brown."

Just because Eva originates from something flawed, does not mean that she herself is wrong.

She did not want my real story, the same as I did not want her real story. But we had been together for about fourteen months, although maybe 1/3 of that time was long distance, while I finished a job in Seattle. It felt like she could not wait another moment. She brought out this old photo album. It took us right through her teenage years. We saw her dad, an intensely obese man who had been killed by a drunk driver when she was 14. He had not been around much before that.

I met Eva's mother in San Diego, where she used to live. My girlfriend prepared me a lot for this meeting, she said she felt it was too soon, but that since her mom usually was overseas, this could be the only chance we would have to all get to know each other.

I have never been to Marrakech. I was in Bilbao once for a month. I met a girl online and she invited me to stay. The food is the only thing I remember, and how she never washed her hair. I told her I could not have sex before marriage, as a stipulation of my religion, but we could do whatever else she wanted. Eventually we did have sex anyway, but not until the last week I was there. By then, we both probably could have lived a lifetime on the anticipation alone, and I asked her to wash her hair, so that was no longer any kind of impediment. When I summarized this life experience to Eva, I stated, "I fell in love once in Spain."


I attended a lecture last week by a man who wrote a verbose novel that numbered many leatherbound volumes. Someone asked him during the Q & A how he was able to be so prolific. He said that he had gotten divorced. The crowd gave a knowing laugh, but I felt my head get warm. It happens to me in these fast moments. Say it, I thought, say the real reason.

Last night Eva started talking about this ex-boyfriend, who I will call Max. You see, she loved Max dearly but he had some problems. I assumed the end of the story involved Max being the drunk driver who killed her dad, but this was sadly not the case.

Max actually did not treat her all that badly, until he got off drugs. He did not hit her or even yell at her or scream. He just made her feel really bad about herself, for like, years.

There is a compulsion among certain people who believe that others are "too good" for them. Over the years I have heard this every once in awhile, but not as often as some of my friends. It is apparently what her mother told her about me, after we spent an afternoon by the woman's pool.

I looked in the mirror for a long time after that, wondering what Eva and her mother saw in me. They had both encouraged me to go in the water, but I shook my head and said nothing.

Max is married and he looks happy. His wife has the longest blonde hair I have seen since I used to go to this cafe in San Luis Obispo, where every single picture on the wall was of Max's wife.

You are probably wondering aloud to your flatmate, I wonder what his girlfriend will think when she reads this! The answer is, she will realize I am the finest writer of my generation.


Tolstoy bought a villa for his daughter Olga in Marrakech. Before his marriage to Olga's mother Sophia, he listed all his prostitutes, and admitted fathering a child with one of the women. Sophia Tolstoy took it in good stride. We always know the kind of person we are with, since it is the only meaningful way we can understand ourselves.

I told this to Eva just now, when she woke. She said, "Don't act like you know me," and turned over.  The woman on the walls of the coffee shop was actually Marilyn Monroe. She died of an overdose. The drunk driver who killed Eva's dad died in prison from a brain tumor. No one else in this essay is dead.

I do not like knowing these hard stories, even if it is about a person I care so much for. But I would like them a lot less if I was the one telling them. I know we can't forget what happened to us, even if a choice made now, today, projects itself backwards to change our past actions as Milosz wrote. From that vantage the past is as nebulous and alterable as the present. Taking the next logical leap, it means that the present is as fixed as what preceded it.

Bilbao had the most wonderful restaurants. San Luis Obispo is a great place to live. Seattle's not so bad either, even if there is not much history. You can always make it up.

Ellis Denklin is a writer living in Los Angeles. You can find an archive of his writing on This Recording here.

Photographs by Hannah Collins.

"My Blue Supreme" - Interpol (mp3)

"Anywhere" - Interpol (mp3)

In Which We Sincerely Hope To Impart This Information

$
0
0

Hard to Say is This Recording’s weekly advice column. It will appear every Wednesday until the Earth perishes in a fiery blaze, or until North West turns 40. Get no-nonsense answers to all of your most pressing questions by writing to justhardtosay@gmail.com or by dropping us a note at our tumblr.

Hey,

I recently received an anonymous message through social. The sender was a woman I did not know, and it said, I apologize for doing this, and linked to this Dear Abby column about cheating.

I'm fairly sure my boyfriend Jon is not cheating on me. At least I could think of no feasible time he would be able to accomplish this feat, since we spend most of our days together.

For various reasons I don't want to bring this up to him. I'd like to find out more without him knowing or invading his privacy in any way. Help! 

Janine L. 

 

Dear Janine,

Mention the girl's name in an innocent context and watch for his reaction. He need not know about the message.

If he says, "That's this crazy girl I used to work with," ask for more information. Why does he call women girls? Does he realize crazy is a trigger pejorative often imposed on women who simply don't accept sublimated roles in a patriarchal society? Has he read tumblr?

If this does not resolve your problem, then go to Plan B, the morning after pill. Just kidding, instead wait for the right drunken moment to have the "wild" idea of placing a location tracker on both of your phones.

This part is important: once you have placed a tracker on his phone, if you yourself are cheating, remove the tracker from your phone. The point of this is to catch him, not to expose your own peccadilloes.

Hi guys,

My friend Judy Liederschmidt recently split up with her boyfriend of five years. They went around the world together and took lots of photos in exotic places, such as Bali, the Alps, Papua. New Guinea and Mindy Kaling's birthplace.

These photos are very prominently displayed in the home they used to share, and everytime I go to see Judy Liederschmidt, who is not dealing with this situation all that well, I feel like her ex is staring a hole in my gullet. He cheated on her and it doesn't seem healthy for her to be reminded of it at all times.

How can I broach this subject with her and what do I say?

Frederick R.

Dear Frederick,

You have a few options, each with its own drawbacks.

The first of these strategeries involves heavily complimenting her appearance in a way that conveys the idea that these photos are an outdated, disgusting version of her and she requires new snaps to convey the current state of her gorgeous repose.

Failing that, find a friend who is purportedly single and bring him over to her house. She will probably hide the photos before the young man's arrival, but they may reappear upon the suitor's departure.

At this point, it would be time for full measures. Has she read John Berger's Ways of Seeing?

JK, although someone once gave us that book and said it changed his life.

No, instead you have to pretend it is you who has a problem letting go of someone. Be casually having a thing where you throw romantic letters and trinkets into a fire for some reason  it doesn't have to be the possessions of a love interest, it can be anyone in your life. Heck, it could even be Judy Liederschmidt if she doesn't straighten her fucking shit out.

Illustrations by Mia Nguyen.

 

In Which Alan Bennett Used To Find This All Quite Daring

$
0
0

East Is Danger

Alan Bennett: the son of a butcher who rose from a modest background to become one of the most celebrated British playwrights of the century. The diaries Bennett kept, especially during his visits to America, eclipse those of de Tocqueville and Dickens, amounting to a catalogue of perspectives from humblest to bourgeois. These writings show off a lot more than Bennett displayed in plays like The History Boys or Kafka's Dick, describing a man who almost unknowingly belonged to a different time than the one he was in.

Why American is a foreign language: we like in a cafe near Gramercy Park, sitting out on a heavy, overcast day. I order a screwdriver and drink it quickly and ask for another.

"I guess it's kind of hot," the waiter says.

"Yes," says Lynn, "and the glasses are kind of small."

"Yes," says the waiter. "That's true also."

No Englishman would say, 'That's true also' (although it's a perfectly grammatical sentence), because it's written not spoken English. Only Ivy Compton-Burnett would write it as dialogue.

+

Mary-Kay rings from Geneva to tell the children their grandfather has died. Sam answers the phone, is told the news, and then immediately announces to the room in his gruff eight year old voice, "He's dead."

William (six) now comes to the phone. "Can I pretend that I don't know and you tell me all over again?"

+

Ten years ago it was thought (or I thought it) quite daring for a girl to loosen her bikini top to brown her whole back. Nowadays girls bare their breasts and bake them openly just as a matter of course. Or girls with nice breasts do. Charlotte H., for instance, who sits across the swimming-pool from me now, has huge unexpected breasts with large, snub nipples; they look like the noses of koala bears.

I wear a pair of flip-flop sandals, the sort of with a sole and one strap across - the biblical type, I suppose. When I was a boy and read of Jesus washing the feet of the disciples, I thought of their feet as like my own in 1943, sweating in grey Utility socks and encased in heavy black shoes with stuck-on rubber soles. Consequently I regarded Jesus's gesture as far more self-sacrificing, even heroic, than it actually was. After twelve pairs of such feet, I thought, the Crucifixion would have been a pushover.

+

An article on playwrights in the Daily Mail, listed according to Hard Left, Soft Left, Hard Right, Soft Right and Centre. I am not listed. I should probably come under Soft Centre.

+

I am walking in the Lower East Side in New York, strolling east through the village. I am surprised by how much of it has been smartened up. Then I come out into an intersection between warehouses and railway buildings, where, across a large central triangle, I see a herd of mackintoshed derelicts, who are also convicts, each with a white oblong on his boots carrying his prison number. I turn and run, much as one might run to get out of the way of a herd of cows, for I know they are not individually dangerous.

Now I am walking back towards safety - east is danger, I know, and west is home - back along a narrow track beside fields of standing corn. A colourful character waves me on, and then I am confronted by a young man in a smart cavalry-twill coat, the coat slightly too big for him; he has a small head, with gummy, edgy hair. He wants money, and I reach into my right-hand back pocket, where I have several bills, and, taking them out, pull out one for ten dollars. I notice that all the colour has drained from the note. Knowing that I have only taken out one bill among many, he suddenly has a knife in his hand which he is holding before his face, a small knife, the blade of which I can hardly see.

I know as we confront each other in the standing corn that this young man of twenty-six or so is going to kill me and that I had been misled by the cavalry-twill coat into thinking him a better class of person. Suddenly I see why the coat is too big - because that too is stolen. I look into the face of this cold-eyed runt and see as I wake and die that I will perish because I have been a snob.

+

When, like today, I feel I have got a little way with a plot and knock off for the day, it is like a climber going up a sheer face who pitches camp on a narrow ledge. Tomorrow he may get no further; he may even roll off during the night.

+

Telephoned by the Evening News to see if I have any comment to offer on the occasion of Harold Pinter's fiftieth birthday I don't; it's only later I realize I could have suggested two minutes' silence.

+

Struck by the completeness of New York, much of it still as it was in 1930. Today is Thanksgiving Day and the streets are emptied of humanity, Prince Street swept clean of people, every detail of the fretted fronts of warehouses clear and sharp, buildings cut up like cheese, segmented against the sky. It was like this the Thanksgiving Day after JFK's assassination, when I walked down a totally empty Seventh Avenue with not a soul to be seen.

+

In the new form of service God is throughout referred to as You; only one Thou left in the world, and the fools have abolished it. Of course they can't do away with the vocative, which is every bit as archaic, so we still say 'O God.' It's a good job God doesn't have a name, or we'd probably be calling him Dave.

+

Commentators on Kafka tend to enlist him. Heller enlists him, holds him up to the rest of the literature class as a good example. How he would have squirmed! Cannetti does the same, annexes Kafka for his own stringency.

Kafka could never have written as he did had he lived in a house. His writing is that of someone whose life was spent in apartments, with lifts, stairwells, muffled voices behind closed doors, and sounds through walls. Put him in a nice detached villa and he'd never have written a word.

+

Someone writes asking advice about where to send a TV script. "We sent it to Kenneth Williams and he was extremely enthusiastic about our script but he committed suicide soon after."

+

Continuing appreciations of Olivier, all of them avoiding the unspoken English question: "But was he nice?"

+

Steven Berkoff, who is currently everywhere, is quoted as saying that critics are like worn-out old tarts. If only they were, the theatre would be in a better state. In fact, critics are much more like dizzy girls out for the evening, just hoping to be fucked and happy to be taken in by a plausible rogue who'll flatter their silly heads while knowing roughly the whereabouts of their private part. A cheap thrill is all they want.

+

"What is it?" said Ariel C. today, "that I've no need to do now that I'm an old lady? Oh, I remember: tell the truth."

I am having supper at The Odeon when word goes round the tables that John Lennon has been shot. "This country of ours," sighs my waiter. "May I tell you the specials for this evening?"

+

A grand seaside hotel in the twenties.

A young woman in black sits in the window, in sharp contrast to other guests in blazers and shorts on their way to the beach.

The hotel manager comes in and tells the woman that unless her bill is paid that day she must leave the hotel. There is an argument.

Meanwhile waiters come in with very expensive luggage, belonging to a millionaire whose yacht has just anchored in the harbour. The millionaire comes in and takes a seat while his room is got ready.

The young woman summons a waiter and tells him to move her seat further away from the millionaire. The millionaire is intrigued. He summons the same waiter, who is noticeably more polite to him than to the woman, and tells him to move his seat closer to her. The process is repeated. The increasingly disgruntled waiter has to move the chairs again.

The millionaire asks why she is moving. She says it is because she can smell money. She is allergic to the sight and smell of money.

The millionaire cannot smell money. She is allergic to the sight and smell of money.

The millionaire cannot smell money. He smells his hand but cannot detect it. He offers the young woman his hand to smell, and she very gingerly does so, and promptly collapses. The millionaire summons the waiter for some champagne. A glass revives her, but the sight of the millionaire tipping the waiter promptly makes her swoon again.

The millionaire asks her how she came to be like this. She says that she married a poor man, and they were very happy, but he worked very hard and gradually became rich. Making money took over his life. He used to come home smelling of money. They lived in a house that smelled of money. He dressed her in clothes, gave her jewels - all smelling of money. She began to suffer from asthma, rashes, fainting fits - all brought on by the sight and smell of money. Even signing a cheque fetched her out in spots.

Eventually her husband died, leaving her very rich. But, valuing her health, she could not touch the money, and besides it nauseated her.

The millionaire is overjoyed. He has spent all his life looking for someone who would love him for himself, regardless of his fortune. He approaches her, but she begins to feel faint.

Suddenly the manager appears with her bill. The millionaire orders the manager to strip, so he can put on his clothes. The manager, obsequious to a fault, does so and the millionaire, now dressed in the manager's clothes, which do not smell of money, is at last able to kiss the young woman's hand.

She says she cannot stand the hotel, and wants to leave. Despite being in his underpants, the manager still insists that her bill be paid, but at the very mention of it, the young woman collapses again.

The millionaire is furious with the manager, saying that he will settle her bill. She begins to revive, and as she does so the millionaire begs her to come away with him on his yacht.

"Will it," she asks fearful, "will it smell of money?"

"No," says the millionaire. "It is a very petite yacht, and all it will smell of is the sea and freedom."

The couple leave hand in hand, and as the yacht sails out of the bay, the waiter clears away the champagne, complaining that neither of them has left him a tip.

+

I  leave the Odeon around eleven, the place already a frenzy of streamers and horn-blowing. Back at the apartment all is quiet, but as firecrackers go off in the street and the noises in her head are blotted out by the whistles and bangs, Rose sings in the new year with a love song.

I love you
and I find it to be true
And the whole world smiles at you.

Except that five minutes into 1985 the fireworks stop, the noises come back, and once more she thinks there is a boy bouncing his ball on her ceiling. No matter that she has thought this for twenty-five years and if there were a boy he would now be a middle-aged man, for Rose he is still bouncing his ball.

"Stop it. Stop it," she shouts. "I can't have this. Stop it, you goddamn filthy bum."

1980-1985


In Which Ralph Ellison Meets The Love Of His Life

$
0
0

This is the first in a two part series.

Nothing Has Changed

by ALEX CARNEVALE

In 1957, Ralph Ellison told his second wife Fanny McConnell that their marriage had been a disappointment to him.

Ralph and Fanny met thirteen years earlier. She was slightly older, still gorgeous, having changed the spelling of her name from Fannie to Fanny as a way of putting the sexual abuse by her stepfather behind her. She had studied theater at the University of Iowa after transferring from Fisk College in Nashville. Due to Jim Crow laws she was never allowed onstage.

Disillusionment came to Fanny quickly. When she enrolled at Fisk, she told her mother, "I think I am the best looking girl in the freshman class. I am going to make it my business be one of the smartest too." She transferred from Fisk to Iowa, where she was even unhappier at the larger, almost all-white school. Chicago treated her no better.

Fanny's first husband was the drizzling shits; her second husband ran off to join the 366th infantry and decided he liked it a lot better than his wife. She lost her job at the Chicago Defender for no reason and found Washington D.C. to be the most racist city she had been to yet.

In New York, she took a position at the National Urban League. It was here that she met Ralph Ellison, who, she wrote, was "the lonely young man I found one sunny afternoon in June." In reality, the two were introduced by mutual friend Langston Hughes. Their first date occurred at Frank's Restaurant in Harlem.

Ralph encouraged his new girlfriend to read Malraux. He was planning a novel about a black man dropped into a Nazi prison camp, who would rally the group together before perishing as a martyr. It was meant to be "an ironic comment upon the ideal and realistic images of democracy."

Three months after they kissed, Fanny moved into Ralph's apartment at 306 W. 141st Street. She could not tell anyone she lived there, since she would have been fired from her job if they knew. Soon after, she left for Chicago to finalize her divorce papers. Ellison panicked that she would not come back. She had barely hit city limits when he telegrammed, YOUR SILENCE PREVENTING WORK. WIRE ME EVEN IF MIND CHANGED. Fanny replied, NOTHING HAS CHANGED. I AM THE SAME AND LOVE YOU.

When she returned to New York, Fanny was so happy she chanced an enema and threw out her old clothes. They adopted a puppy, a Scottish terrier named Bobbins.

The two were rarely apart in the years that followed. World War II ended, but Ralph's own battles continued. They spent part of that summer after their marriage in Vermont, where among the detritus of backwards New England, Fanny's husband developed the basic concept of Invisible Man.

Ralph found it difficult to write in Harlem, so he rented a shack in scenic Long Island that served as his office. The rent took up most of his savings, and Fanny's job at a housing authority provided the rest of what they had. The two were married quietly in August 1946.

At the same time as Ellison was putting down roots, his friend Richard Wright was leaving America for Paris, exhausted by the insults an invective marriage to a white woman had brought into his life. In Paris Wright would have powerful friends in the expatriate community; Ellison had already found these resources in America.

With Fanny by his side, Ralph hoped for the kind of acclaim and financial security of which he had long dreamed. In order to really get down to completing Invisible Man, he plotted a sabbatical from his wife in Vermont where he could finally wrap up the novel. He took Bobbins and their new dog, Red, with him. He missed his wife intensely: "To paraphrase myself, I love you, write me, I'm lonely, and envious of your old lovers who for whatever pretext, have simply to walk up the street to see you."

Fanny wrote back, "My dear, all my former lovers are dead. I don't even remember who they were."

with a friend's bb

Ralph encouraged Fanny to spend the time writing, which she had done for the stage in Chicago at the Negro Theater. In New York she was expected to keep up relationships with Ralph's wealthy white friends, who enjoyed parading her around a bit too much.

By the time Ralph made it back from Vermont where he was basically the only black man in a small college town, Invisible Man was yet to be completed. Fanny felt major pressure to produce a child. At 38 this would have been difficult, and Ralph was resolutely against adoption. Still, she could not conceive despite fertility treatments at the Sanger Bureau. Frustrated with his wife, Ralph pretended to seek other intimacy without ever consummating it.

He took out on Fanny his anger at not being able to complete the book, at what he felt was a token role in a white-dominated literary world. All this he also channeled into his writing. When a friend offered the use of an office in Manhattan's diamond district, Ralph gladly accepted. Perched in a window that looked out on Radio City Music Hall, passerby were often scandalized to see a black man smoking at a typewriter.

By 1949 Ralph had to abandon his temporary office, but Invisible Man, after so long, seemed close to being finished. An excerpt published in the magazine Horizon heightened anticipation for the book and elevated Ralph's star, pushing him to complete the final manuscript. Fanny did much of the typing as he revised, focusing the text by eliminating an Othello-like subplot.

Manhattan seemed a more hospitable place than ever. In these last months of putting together the book, Ralph would do anything to distract himself from saying it was done; he even constructed an entire amplifier from parts to avoid working on it. Fanny gave him the space he needed: husband and wife were on more solid ground. Finally, with a new agent and new publisher, Invisible Man appeared on store shelves on April 14, 1952.

"We feel these days," Fanny wrote to Langston Hughes, "as if we are about to be catapulted into something unknown  of which we are both hopeful and afraid."

Alex Carnevale is the editor of This Recording.

with Lyndon Johnson

"Sugar High" - Larkin Poe (mp3)

"Jesse" - Larkin Poe (mp3)

In Which There Is A Lot Going On In Daniel Radcliffe's Life

$
0
0

Magnetic Poetry

by MIA NGUYEN

What If
dir. Michael Dowse
101 minutes

Daniel Radcliffe plays the lead in Michael Dowse's What If as a miserable medical school dropout anguished with the pain of a two-year-old break-up. What If explores the disturbing vagaries of being told "let's just be friends" by someone you love. Despite all of the unfortunate events happening in the life of Wallace (Daniel Radcliffe), he manages to find the most perfect and peaceful perching spot on the roof of the house of his sister Ellie (Jemina Rooper), overlooking the gorgeous Toronto skyline. He utilizes the spot to mope and wallow with his one and only friend, the fluorescent glow illuminating from his iPhone.

After making the unsurprising and predictable discovery of catching his ex-girlfriend having sex with his anatomy professor in a supply closet of the hospital they both worked in he ended the relationship. The infidelity between the two closely paralleled the lives his parents led: two doctors who cheated on each other constantly with other doctors in the hospital. He didn’t want to follow the same fate of lying, cheating, and manipulation for himself.

In addition to living with his sister Wallace serves as a father figure to his nephew. The two disobey the rules by bingeing on tubs of ice cream with horror movies while she’s away at work. Unfortunately, What If skimps out on the family dynamic in favor of its broader love story; weaving both together might have provided a bit more edge.

What If quickly settles into a romantic comedy groove with the appearance of Allan (Adam Driver) and jacked and brash sense of humor, which audience members rely on to sit through the entirety of the film. His tall stature in relation to Wallace’s is laughable at best, making their friendship heartwarming and engaging. (One was little, one was big, but they were the best of friends.)

Allan tries to fix Wallace’s social displacement and anguish by inviting him to his tumultuous social gathering at a house party where he meets Chantry (Zoe Kazan). The two hit it off and complete each other’s sentences in front of a refrigerator filled with magnetic poetry.

After calling it a night, he walks Chantry back to her apartment only to find that she has a boyfriend, but she willingly scratches her phone number on piece paper from her sketchbook and hands it over to him. This act inculcates his madness for her bright red lips, coy personality, and closet full of cute vintage dresses.

Wallace, like any guy who gets friend zoned, goes home absolutely livid. He climbs on top of his perching spot and ponders if he should even keep her number, allowing the wind to drift it away from his hand. His facial expression screams, "What's the point of even keeping her number if she has a boyfriend. I want someone that can instantly put out. It has been two years!" The piece of paper drifts through the wind with the fairy coming to life on screen as an animation, which closely follows through Chantry’s emotional journey throughout the movie and gives us a better idea of what she does for a living as an animator.

The two rejoice and encounter each other outside of a Princess Bride screening (ugh) and decide to be friends. They go out drinking and rambunctiously dance at nightclubs. Alcohol eases the pain in any situation, even in the friend zone.

The friendship between the two blossoms into a spectacular rose bush and Wallace enjoys talking to Chantry about everything. He falls in love with her, madly in love, but can’t express it. Chantry invites Wallace over for dinner to meet her boyfriend of five years Ben (Rafe Spall). Ben works for the United Nations and suspects Wallace’s sexual pursuits for Chantry with quick mutters and jabs while hastily dicing an onion. Ben resembles someone who you don’t want to be stuck in an elevator with because he will suddenly start a conversation.

In one scene, Allan and Nicole (Mackenzie Davis) invite the friend zone pair on a beach trip. Allan and Nicole pursue a late night skinny dipping excursion, leaving Chantry and Wallace by the fire. Chantry suggests skinny dipping in the dark with Wallace, a dangerous game, but she plays it anyway. In addition, she plays the juvenile I’ll show you mine if-you-show-me-yours game with Wallace underneath the moonlight and he obliges, of course. It’s purely innocent.

Allan and Nicole’s mischievous scheme of taking their clothes leave the two out cold for the night. Being naked doesn’t even lead to second base and they end up spending the night back-to-back in a sleeping bag furious.

Chantry gets a job offer as a project manager in Tokyo and feels an exorbitant amount of pressure to make a decision. It’s the only source of control she feels she needs to take advantage of. Instinctively and rationally, she sits alone with a pencil and writes a pros and cons list. She allows to be honest with herself and her feelings for Wallace. Her heart can no longer deny that their friendship is more than just a friendship. The calculated risks and steps Chantry takes guide her onto an illuminating path on questioning her career and 5-year long relationship with Ben. She finds happiness in her honesty and becomes unafraid.

Mia Ngyuen is the features editor of This Recording. She is a writer living in Los Angeles. You can find her website here.

"Scar Issue" - The Color Morale (mp3)

"Developing Negative" - The Color Morale (mp3)

In Which We Find This Impossible To Announce

$
0
0

Hard to Say is This Recording’s weekly advice column. It will appear every Wednesday until the Earth perishes in a fiery blaze, or until North West turns 40. Get no-nonsense answers to all of your most pressing questions by writing to justhardtosay@gmail.com or by dropping us a note at our tumblr.

Hi,

This started eight months ago when I met a guy who I will call Jeff online. We really hit it off and we were talking quite frequently despite living in different cities. Eventually we decided that I should come and visit him. Our first meeting was great and just seemed like a continuation of our online communication.

Jeff makes references to past relationships, although since we were just getting to know each other, I did not wish to pry. After that weekend, Jeff confessed that he was divorced and that he was not interested in getting married again. I asked him what he was interested in and he said that he wasn't sure, that he had done the long distance thing before and wasn't very successful at it. At the same time he expressed a desire to keep seeing me.

In the intervening months, I have tried to be more protective of our feelings. Jeff has come to my city to visit me and for the most part we have a great time with very little meta-relationship talk, as he seemed to request. Am I right to be taking this at his pace, or should I just bail?

Andrea R. 

Dear Andrea,

Learning all about someone from the person themselves leaves many blind spots open, Andrea. You need a third party who can give you a better view of Jeff. See if you can make up a reason to have a conversation with one of his friends: maybe a buddy is an industry peripheral to yours, and you can claim you are only looking for some general advice.

With that said, you can't necessarily assume there is any foul play involved. Men will say a lot of things; just because he's not considering marriage now doesn't mean the idea is permanently dead to him. Even lemmings have to be coaxed into heading for a cliff, but once they build up some momentum, death is a sweet release.

Demanding a commitment is the surest way not to get one. Make sure Jeff knows you are exploring other options and he will quickly ask you not to be if he cares that much. If he doesn't ask, then you know he doesn't care.

Hey,

As you know, recently a bunch of private photos of female celebrities and models leaked across every cavern and hidey-hole of the internet. My fiance Craig downloaded these photos and he and his friends sent them back and forth to each other.

I am completely creeped out by this. Are these guys actually masturbating to photos of Jennifer Lawrence, Kate Upton and Sybil, or is it just some harmful/harmless fun? Am I judging Craig and his gross, mouthbreathing friends too harshly?

Jackie C.

Dear Jackie,

There appears to be something of the Streisand effect at work here. How turned on can someone really be by watching Lady Mary's little sister opine about the residual odor of her boyfriend's balls?

We'll never truly know why Sybil left Downton Abbey. Did she have a lunch date? Was the guy who played her Irish husband tickling her savagely between takes? Did Elizabeth McGovern shit in her catering as a practical joke? A certain amount of curiosity as to what greener pastures Sybil is occupying strikes us as natural.

If he's still talking about this disturbing breach of privacy long after Kate Upton's tan lines have faded from the cultural memory, then I would say you had a right to be perturbed. Novelty fades rapidly: even Bradley Cooper barely even bothers to look down in the shower anymore.

Illustrations by Mia Nguyen.

"Possibility Days" - Counting Crows (mp3)

"Cover Up The Sun" - Counting Crows (mp3)

 

In Which There Is Something Surgically Wrong With Steven Soderbergh

$
0
0

Fear of Needles

by RACHEL SYKES

The Knick
creators Jack Amiel and Michael Begler

This summer, TV seemed unseasonably dark, from the return of Hannibal and its totem pole of corpses, to the wonderfully pansexual Penny Dreadful, and the gruesome, woman-beating second season of Bates Motel.

Now, providing the season with its passage to September, Steven Soderbergh’s The Knick has aired its first episodes on Cinemax, showcasing a grotesque but uniquely historical approach to this season’s yen for horror. The Knick, like its predecessors, is straight from the Gothic tradition, exhibiting a kind of gross-out Gothicism which, much like Penny Dreadful, combines Victorian facades with blood, guts, and gore. The first episode opens in a suitably druggy haze, the camera slowly focussing on an opium den where Dr. John Thackery (Clive Owen) lies semi-conscious, surrounded by nakedly “exotic” women. So far, so period drama - except that minutes later Dr. Thackery is dashing off to The Knick, the show’s eponymous hospital, pulling off his coke-white shoes, injecting a needle between his toes and, only a little later, into the only part of his body with a visible vein: his penis.

This, in a nutshell, is how the show works, as a curious mix of turn-of-the-century repression and heavily mutilated bodies. Set in a downtown Manhattan hospital in 1900, The Knick follows Dr. Thackery and his team of surgical pioneers as they take-on breath-taking surgeries, staged in explicit detail before a gallery of starkly unmoved benefactors. And it’s not just the patients who suffer horribly: besides Dr. Thackery’s nerve-shattering addiction to cocaine, the show obsesses over the parallels between life-saving and/or endangering surgeries and the violent incidents that regularly afflict the hospital’s staff.

While the finance director (Jeremy Bobb) has his teeth pulled out by creditors, the hospital’s only African American doctor, Algernon Edwards (André Holland), is punching strangers in alleyways, where blood splatters onto the sidewalk and into the camera. The bloody tone is set most shockingly in the first episode when, after an exceptionally brutal caesarean section, and just minutes after Clive Owen shoots-up between his toes, Thackery’s mentor lays a sheet over his leather sofa and quietly, but gorily, shoots himself in the head.

Scrubs, this is not. In fact, the completely humourless set-up of The Knick reveals just how firmly Soderbergh has his sights set on History. The Knickerbocker hospital is real enough; the original was founded in 1862 although, located on Convent Avenue and 131st Street in Harlem, it was significantly further uptown than The Knick of the show. Up until the late 1970s, The (real) Knickerbocker gave free surgical and medical treatment to the “worthy sick poor” of New York City and, like the characters of The Knick, its employees regularly battled the high mortality rates and poor conditions that afflicted many down and out citizens in turn- of-the-century Manhattan.

Into this sound historical backdrop, The Knick adds Dr. Thackery, played so sternly by Owen that you can never be quite sure his face can move. Thackery’s gut-punching surgeries, numbering two to three per episode, anchor Soderbergh’s portrayal of the poor and the needy but curiously distance the viewer from the worthiness of the show. The Gothic elements of The Knick are a symptom of the city’s poverty and corruption; the flickering electricity that dims the lights, and fatally electrocutes one of the nurses, is not in any way mysterious or supernatural, but the result of bureaucracy and administrative extortion.

In much the same way, patients have their bodies turned inside out not only because it is their only hope for survival but also because we, as viewers, know that the goriness we are watching will lead to more successful procedures, to safer caesareans and quicker heart bypasses. We know, in other words, that the extraordinarily messy surgeries that Dr. Thackery and his team attempt will eventually be successful, but the benefit of hindsight effectively distances us from the shocking brutality of the show.

The problem with The Knick, then, is its middle ground between prestige and Gothic drama. At times, it’s like watching a version of Mad Men made only from its moments of shock, where lawnmowers continually eviscerate people’s feet and every employee presents Peggy with a sawn off ear in a box. Running throughout the first episodes of The Knick is also the suspicion that a more interesting show lies beneath it. This comes down, as ever, to gender and race.

Within the first three episodes, every male character has done something illegal and typically anti-heroic, making the men invariably complex whilst the women are presented as strong and, worst still, moral. The most interesting character, Dr. Algernon Edwards, is paralysed by the racist system he is placed in, left pandering to superiors who know less than him and observing on surgeries he initially pioneered. Although everything about The Knick screams its seriousness, the storylines favour tradition over innovation, patriarchy over matriarchy, and white men over black when the inequality it registers might have served as a better focus.

Perhaps, though, the show is headed somewhere different. As early as episode two, stifled by the short leash that Thackery has him on, Algernon takes matters into his own hands and begins to treat the hospital’s unwanted African American patients in an abandoned basement. A show about the challenges facing an African American hospital seems infinitely more watchable than the show that The Knick purports to be and perhaps, if Soderbergh leaves behind Dr. Thackery’s slow circling of the drain, The Knick will uncover its purpose in amongst its detail.

Rachel Sykes is the senior contributor to This Recording. She is a writer living in Nottingham. You can find an archive of her writing on This Recording here. She tumbls here and twitters here. .

"Blue Movie" - Lowtide (mp3)

"Missing History" - Lowtide (mp3)

In Which We Pay Attention To Our Breath

$
0
0

The Virus

by ELIZABETH BARBEE

2002 was my freshman year of high school. It was also the year my family bought a computer. Until that point I had composed essays on an electric typewriter and collected rocks for fun. My parents were neither cheap nor obstinate; they were just blind to the benefits of modern technology.

I took to the Web right away. Myspace was still cool, primarily a place for musicians and artist types to show off tattoos. In order to have an account, it seemed you needed a pair of horn-rimmed glasses or Converse All Stars. I had neither but knew a boy who did. His profile replaced TV as my primary source of entertainment. I checked it obsessively, looking for evidence of a girlfriend, of course, but mostly just wanting to immerse myself in a world that seemed more creative and exciting than my own. Eventually I got up the courage to message him on AIM.

Our conversations were uneventful and exhilarating. We swapped favorite lyrics and book titles. Occasionally, he suggested we grab coffee, but we never followed through. Though I knew nothing would come of it, I lived for the hour we spent each evening, typing back and forth. He had just started initiating contact when our computer contracted a virus, stranger and more debilitating than any I have seen since.

For months, my romantic efforts were undermined by midget porn. The moment you logged on to the Internet, videos of small men pounding even smaller women filled the screen. The pop-ups were so detailed there was no point in buying the full-length movie. More than horrified, I was livid. Web access had come to feel like a basic human right. Rather find something else to do, I stared at the screen and sulked.

My mother found the whole thing hilarious. When I had visitors, she insisted I take them to the computer room. “Make sure they see the midget porn before they leave!” she said, “That's not something anyone should miss.” For many of my friends, this was probably their first experience with sex, and I wonder sometimes if it had any affect on their long term preferences.

I remember one actress in particular with Shirley Temple curls and a butterfly tattoo above her left breast. Her moves were acrobatic and graceful. It was clear that as a child someone had carted her to and from gymnastics lessons. I was saddened by her lost innocence and suddenly desperate to hold onto my own. I flushed a half smoked pack of cigarettes down the toilet, vowed to focus more on my studies, and toyed with the idea of joining student council.

I was aware that I would not always be young and sheltered, that time would eventually thrust me into gritty adulthood. I struggled to embrace the moment and failed miserably. At sleepovers, instead of enjoying myself, I thought about how someday I would be too old to play Truth or Dare. I was experiencing, for the first time, something I now feel everyday: premature nostalgia.

I am haunted by the impermanence of things. Dinner parties, jobs, relationships – they all seem so fragile. To remedy the problem, I take meditation classes at the local Hare Krishna temple, where a man in an orange tunic urges me to pay attention to my breath. I obey, but the rise and fall of my chest makes me frantic. I imagine myself gasping for air on my deathbed, all the people I have met and places I have seen fluttering through my mind. This is going to take either a lot of practice or a lot of SSRIs.

Elizabeth Barbee is the senior contributor to This Recording. She is a writer living in Dallas. You can find an archive of her writing on This Recording here. She last wrote in these pages about her vital signs.

"Body" - Karen O (mp3)

"Sunset Sun" - Karen O (mp3)

In Which We Attempt To Revere Anna Akhmatova

$
0
0

The First Exchange

by JANE KENYON

As we remember Keats for the beauty and intensity of his shorter poems, especially the odes and sonnets, so we revere Akhmatova for her early lyrics - brief, perfectly made verses of passion and feeling. Images build emotional pressure:

And sweeter even than the singing of songs
is this dream, now becoming real:
the swaying of branches brushed aside
and the faint ringing of your spurs.

I love the sudden twists these poems take, often in the last line. In one poem the recollection of a literary party ends with the first frank exchange of glances between lovers. Another poems lists sweet-smelling things - mignonette, violets, apples - and ends, astonishingly, "...we have found out forever /that blood only smells of blood." These poems celebrate the sensual life, and Akhmatova's devoted attention to details of sense always serves feeling:

With the hissing of the snake the scythe cuts down
the stalks, one pressed hard against another.

The snake's hissing is accurate to the sound of scythe mowing, and more than accurate: by using a snake for her auditory image, Akhmatova compares this rural place, where love has gone awry, to the lost Eden.

+

Akhmatova was born Anna Gorenko near Odessa in 1889. Soon her family moving to Tsarskoe Selo, near St. Petersburg, and there she began her education. Studying French, she learned to love Baudelaire and Verlaine. At the age of ten she became seriously ill, with a disease never diagnosed, and went dear for a brief time. As she recovered she wrote her first poems.

Money was not abundant in the Gorenko household, nor was tranquility. Akhmatova did not get on with her father, Andrei Gorenko, a naval engineer who lectured at the Naval Academy in St. Petersburg - also a notorious philanderer whose money went to his mistresses. (We know little of Akhmatova's relationship with her mother.) Akhmatova's brother Victor recalls an occasion when the young girl asked their father for money for a new coat. When he refused she threw off her clothes and became hysterical. (See. Akhmatova: Poems, Correspondence, Reminiscences, Iconography: Ardis.)

Andrei Gorenko deserted his family in 1905. A few years later, hearing that his daughter wrote verse, he asked her to choose a pen name. He wished to avoid the ignominy, as he put it, of "a decadent poetess" in the family.  She took her Tartar great-grandmother's name.

When Akhmatova was still a schoolgirl she met Nikolai Gumilev, a poet and founder of Acmeism who became her mentor and her first hsband. Nadezhda Mandelstam has said that Akhmatova rarely spoke of her childhood: she seemed to consider her marriage to Gumilev the beginning of her life.

She was slow to accept his proposal. He sought her attention by repeated attempts at suicide until he finally married him in 1910. The bride's family did not attend the ceremony. Having won her at last, Gumilev promptly left to spend six months in Africa. On his return, while still at the train station, he asked her if she had been writing. By reply she handed him the manuscript of Evening, her first book.

+

Their son, Lev Gumilev, was born in 1912, the same year Anna published Evening. By 1917, when she was 28, she had brought out two more books, Rosary and White Flock. Despite the historical tumult of World War I and the Revolution, her poetry quickly became popular. But tumult was private as well as public: by 1918 her marriage had failed; Akhmatova divorced Gumilev and the same autumn married the Assyriologist V.K. Shileiko. This unhappy alliance - Shileiko burned his wife's poems in the samovar - lasted for six years. Ordinary family life eluded Akhmatova, who went through many love affairs. Before her divorce from Shileiko, she lived in a menage a trois with Nikolai Punin and his wife; Punin later became her third husband. Motherhood was not easy. ("The lot of a mother is a bright torture: I was not worthy of it....") For the most part, Gumilev's mother raised her grandson Lev.

In the years following her early triumphs Akhmatova suffered many torments, as the Soviet regime hardened into tyranny. Gumilev was executive in 1921 for alleged anti-Bolshevik activity. Early in the twenties Soviet critics denounced Akhmatova's work as anachronistic and useless to the Revolution. The Central Committee of the Communist Party forbade publication of her verse; from 1923 to 1940, none of her poetry appeared in print. The great poems of her maturity, Requiem and Song Without a Hero, exist in Russia today only by underground publication or samizdat.

During the Stalinist terror of the 1930s the poet's son Lev and her husband Punin were imprisoned. Akhmatova's fellow Acmeist and close friend Osip Mandelstam died in a prison camp in 1938. (Punin died in another camp fifteen years later.) During the Second World War the Committee of the Communist Party of Leningrad evacuated Akhmatova to Tashkent in Uzbekistan. There she lived in a small, hot room, in ill health, with Osip Mandelstam's widow Nadezhda.

In 1944 Akhmatova returned to Leningrad, to a still-higher wave of official antagonism. In a prominent literay magazine, Andrei Zhdanov denounced her as "a frantic little fine lady flitting between the boudoir and the chapel...half-nun, half-harlot." The Union of Soviet Writers expelled her. A new book of poems, already in print, was seized and destroyed. For many years she supported herself only by working as a translator from Asiatic languages and from French, an activity she compared to "eating one's own brain."

+

The final decade of her life was relatively tranquil. During the thaw that followed Stalin's death, the government released Lev Gumilev from labor camp and reinstated Akhmatova in the Writer's Union. She was permitted to publish and to travel. In Italy and England she received honors and saw old friends. She died in March 1966, and was buried at Komarovo, near Leningrad.

1984

There is a certain hour every day
so troubled and heavy…
I speak to melancholy in a loud voice
not bothering to open my sleepy eyes.
And it pulses like blood,
is warm like a sigh,
like happy love
is smart and nasty.

Twenty-first. Night. Monday.
Silhouette of the capitol in darkness.
Some good-for-nothing -- who knows why--
made up the tale that love exists on earth.

People believe it, maybe from laziness
or boredom, and live accordingly:
they wait eagerly for meetings, fear parting,
and when they sing, they sing about love.

But the secret reveals itself to some,
and on them silence settles down...
I found this out by accident
and now it seems I'm sick all the time.

1917

translated by Jane Kenyon

"Those Dreadful Hammers" - Esben and the Witch (mp3)

"Dig Your Fingers In" - Esben and the Witch (mp3)

In Which We Bathe In The Shadows Of The Masters

$
0
0

The Great Jean Renoir

by ALEX CARNEVALE

There is a special and essential cachet attached to unfinished books. Despite their incomplete nature, the tomes naturally have an affinity with puzzles or codes, and because of this the texts themselves are often subject to more than one reading. Also because they are not whole, other individuals feel more assertive about adding or subtracting writing from the original, under the supposition that they are putting together the work the way the author imagined. It is this way with Andre Bazin's seemingly innocent 1971 appreciation of his favorite filmmaker, Jean Renoir.

Even Truffaut's introduction to the volume he edited completely obfuscates the book itself. He writes,

No one should expect me to introduce this book with caution, detachment or equanimity. Andre Bazin and Jean Renoir have meant too much for me to be able to speak of them dispassionately. Thus it is quite natural that I should feel that Jean Renoir by Andre Bazin is the best book on the cinema, written by best critic, about the best director.

Andre Bazin, whose health deteriorated year after year, found the strength to look at films and to comment on them until his last day. The day before his death he wrote one of his best essays the long analysis of The Crime of M. Lange — having watched the film on television from his bed.

Renoir's work excited Bazin more than any other. He was working on this study of his favorite director when he died. His fragmentary manuscript has been reconstructed and completed by his friends with the assistance of his wife, Janine Bazin.

I am responsible for the final organization of the work, for its division into ten chapters approximating the chronological development of Renoir's work. Obviously Bazin would have done it differently if he had had time. I think he intended to devote a chapter to the themes treated by Renoir, another to his work with actors, another to the adaptation of novels.

In one of his last letters, Bazin wrote me, "I am circling around Renoir by reading the life of Augustus, the novels of Zola: La Bete Humaine and Nana, Maupassant... I will eventually have to approach him more directly but I am now at a point where I know either too much or not enough. Too much to be satisfied with approximations, not yet enough to fill in all the variables of his equations."

I am not far from thinking that the work of Jean Renoir is the work of an infallible filmmaker. To be less extravagant, I will say that Renoir's work has always been guided by a philosophy of life which expresses itself with the aid of something much like a trade secret: sympathy.

Before Bazin's book even begins, Jean Renoir weighs in with a foreword of his own:

The more I travel through life, the more I am convinced that masks are proliferating. I have difficulty finding a woman whose face looks as it really is. Our age is a triumph of make-up. And not only for faces, but more important, for the mind as well.

The modern world is founded on the ever increasing production of material goods. One must keep producing or die. But this process is like the labor of Sisyphus. Forgetting Lavoisier's dictum, "In nature nothing is created, nothing is lost; everything is transformed," we convince ourselves that our earthly machines will succeed in catching up with eternity. But to maintain the level of production on which our daily bread depends, we must ever renew and expand our enterprises.

It turns out that Renoir does not know Bazin very well, other than by his little French beret. He struggles with the same problem the author of Jean Renoir has — knowing too much or too little about his subject. For the final version of Jean Renoir is as much an obliteration of its subject as a celebration.

Almost every section of Jean Renoir contains the same blandishment about the director. Each section begins, "Renoir is the greatest living French director" or "Renoir is unmatched" in such-and-such field. This kind of repetition would be the first accessory sacrificed if the author had been alive to revise his work; here they serve as eerie reminders that the admiration is rehearsed.

The second part of Jean Renoir amounts to lame defenses of The River and Paris Does Strange Things, two films that for various reasons seem to have offended Bazin's sense of the cinema in some way. He waves aside his own objections and Truffaut replaces them, in the book's third section, with Renoir's own autobiographical reminiscences of his days as a young, inexperienced directors, film treatments, and interviews.

Renoir writes, What I know is that I am beginning to understand how one should work. I know that I am French and that I must work in an absolutely national vein. I know also that in doing this, and only in doing this, can I reach people from other nations and act for international understanding.

I know that the American cinema will collapse because it is no longer American. I know too that we must not spurn the foreigners who come to us with their knowledge and talent; we must absorb them. It is a practice which has served us rather well from Leonardo da Vinci all the way to Picasso. I believe that the cinema is not so much an industry as people would have us believe and that the fat men with their money, their graphs, and green felt tables are going to fall on their faces.

Jean Renoir never made another film after Jean Renoir was published. No one would give him the money.

The best part of Jean Renoir is the book's filmography, an appendix in which Renoir's various projects are taken up by a variety of critics and directors. (Truffaut himself writes the majority of them.) These short discussions of the films innovated the concept of a "recap," for they prove that simply describing a cinematic plot reveals vast differences in character and perception. This is most evident in Truffaut's rundown of The Rules of the Game:

The nine principal characters of The Rules of the Game have a sentimental problem to resolve, and since the film shows them on the eve of a crisis, we will see them behave at their worst. The only sincere person the pilot Andre Jurieu awkward in an unfamiliar milieu, unleashes a tragicomedy in which he is the only victim, precisely because he has not followed the rules of the game.

Ludicrous skeletons, the characters of The Rules of the Game, viewed at a critical moment in their decay, forsake the farandole ("It's nice but it's a little old-fashioned") for a danse macabre which assaults the senses. For the ostensible purpose of a party, they are led to disguise themselves, which is to say, to take off their masks. The shadows of the masters and servants mingle and merge in an image of a sybaritic life style which cannot last: man is imperfect, he is a born liar, and besides, "If love is endowed with wings, is it not to flutter?" The Rules of the Game is a profoundly pessimistic film, a bitter and prophetic carnival in which friendship itself is exposed as just another empty game.

The word game is used over 200 times in Truffaut's two page description.

At some point in any hagiography, the idolatry itself becomes absurd. In Jean Renoir, there is no evidence of insincerity on the part of Jean Renoir's admirers. No doubt he was their very favorite, the person whose artistic work can be credited in part for giving birth to their own, whether it be new movies or essay-length film criticism. But there is also a movement just as strong away from what Renoir has accomplished; it equates to the difference between the sympathy they admire in Renoir and true empathy.

Admiration, especially the deeply ingrained kind, eventually distances the ardor from its subject. The act of writing a book in celebration of their cinematic hero feels like filing him away in history. None of their work would exist without Renoir, Bazin & Godard & Truffaut find themselves admitting, and having said this, they have finished with the man, eight years before he died in Beverly Hills. As Eric Rohmer puts it in his review of Renoir's Madame Bovary, "the roads that lead to art and truth are different, and it is the point where they cross which has always fascinated Renoir. Each perspective is true, each is false. They complement one another."   

Alex Carnevale is the editor of This Recording.

"Oxygen" - Marie Fisker & Kira Skov (mp3)

"I Lost Something In The Hills" - Marie Fisker & Kira Skov (mp3)



In Which We Find This Inexorably Tough To Explicate

$
0
0

Hard to Say is This Recording’s weekly advice column. It will appear every Wednesday until the Earth perishes in a fiery blaze, or until North West turns 40. Get no-nonsense answers to all of your most pressing questions by writing to justhardtosay@gmail.com or by dropping us a note at our tumblr.

Hi,

In recent weeks, my girlfriend Maria and I have begun talking about getting engaged, a conversation that she initiated. In the course of our discussions about whether it is the right step for us, she mentioned that she has no interest in taking my name or having our potential children take my name. I was a bit surprised but I said nothing.

After thinking about it more, I can't help but feel a bit bothered by this. She has no professional reason not to do it, but my main concern is that kids would find it confusing to be called by different or hyphenated names. Should I bring up this concern to Maria and how should I do it?
 

Roberto T.

Dear Roberto,

Modernity has equipped us with a phenomenon called concern trolling. It's actual a quite ancient method. It allows people to offer a series of hypothetical statements intended to shit all over a topic without actually saying what is meant. In your situation, a concern troll might suggest, "Is it really the best for a child to be concerned about her name?"

Nothing actually has a name. These are simply made up designations. You are no more a Roberto than you are Matzoh Ramshackle. You're just a thing that exists, a thing that spends hours and hours concern trolling yourself, asking, "What should I call things, and what should I call myself?" in a high voice that sounds like Minnie Mouse.

If you really loved Maria, you'd take her name. However, she has not asked you to do this. If you offer, she might take yours, but probably not, because Maria Ramshackle sounds like the name of a prostitute. If you ever have a child, let your wife name it. It came out of her body after all. You can give your most raucous bowel movements your last name.

Hey,

A friend of mine, Andrea, recently split with her boyfriend, Steven, of a year. (We all live in Park Slope.) They have stayed on good terms and he sometimes says hi to us both if he sees us, and once he caught a mouse in her apartment with his bare hands when I was there at a screening of The Prince of Tides.

Needless to say I was extremely turned on by this event and I would like to see more of Steven. You asked me why they broke up: it was a mutual thing but I think the main deciding factor was that she felt a bit too domesticated by the relationship and wanted to go out more.

I feel weird asking Andrea's permission to pursue things with Steven, and I'm worried he will feel weird too if he hears I have asked, or even if I suggest hanging out together in general. What's the best way to approach this?

Megan P.

Dear Megan,

If he's still running the pest control game at his ex's apartment, Steve doesn't seem like the most headstrong fellow. Nor would I ever be able to fully divest myself of the notion that the hands stroking my body had touched a mouse's corpse, although I believe that is more my problem than yours.

What you need to do is get Steven to ask Andrea for her permission. That could be a bit farfetched on both their parts, but it will only happen if you can get alone time with Steven on some other pretext. Tell him an endangered condor accidentally flew into your apartment, and you would like him to remand it to a local animal shelter equipped to deal with large birds. Or maybe he knows Spanish and can teach it to you.

Illustrations by Mia Nguyen.

 

"Swimming Lessons" - Honig (mp3)

"Leave Me Now" - Honig (mp3)

In Which We Drown Out Everything Else

$
0
0

Gentle Oddity Of A Person

by JENNIFER RUSSO

The grass came from a gentle oddity of a person, a man deftly bearded, given to long monologues about music. “Is this your first time?” he asked, and embraced widely in benediction. My child. Sniffing at the mouth of an unlabeled prescription bottle, we clasped hands in childlike anticipation, formed a circle around the remains of birthday cheese and crackers, half-emptied bottles of wine. For the two menthols smoked earlier in the day – lungs clinging to the damp palm of an early winter afternoon – I felt a twinge of guilt. For this twist of green inside orange on the coffee table, we considered nothing except (naively): pipe or paper?

Paper.

If you smoked in high school, you were confined to a yellow square in the courtyard. The people inside of this square did not exist. If they did, we simply conceded that they could not be smoking anything other than tobacco, a single cigarette no doubt filched from their parents’ pocket-crushed packs. I was twice invited to step inside the square, both times by a girl in my class with a proclivity to arrive at school in slippers. I declined twice, too keen on existing, fonder still of the triangle beyond the yellow square where the smoke wafted, intoxicating those of us who believed ourselves more saintly.

Now, they passed the joint to me – thin, wrinkled, illicit – and I smacked pious lips dry, pinched them to the end of it. Inhale. Hold. Hold. Hold. Cough. Yes? Again? An orange, stabbed with cloves, simmered on the back of the stove. Water whistled in the kettle. The apartment reeked. Nearby, a friend with a face pink like wine made snow angels on the hardwood floor. “Are you with me?” – she wept.

My brother had smoked once, alone in his room, hanging out of his window into a Saturday afternoon. When I knocked on his door, he yelled huskily, too quickly, “I’m burning a candle.”

“Wait, wait,” cautioned the more experienced voice as I begged for another hit, impatiently grounded. I had taken four in the space of fifteen minutes, twice stood up to go relieve myself nervously of tea and judgment. The deepest pleasures are prohibited; the only true saints are martyrs.

Since we firmly believed that smoking marijuana would be an entirely communal experience – not unlike sex, a joining, an instance in which mind, body and spirit collide – we found, with surprise, that rapidly elapsing time and appetite and tension fell like weights, pushing us until we were awkwardly seated or lying on large cushions, half on the floor and half on the sofa, separate. We had not speculated beyond our fabricated truth. I went to the bathroom mirror and inspected, in the dark, whether or not my eyes had closed to slits.

What happens when saints burn? A slice of brain just behind my forehead unpeeled itself, like lazy adhesive, from my skull. As the gray matter between my ears pressed first near the back of my head, then forward to heighten the pressure behind my eyes, my skeleton stiffened further, hung skinny as from a hook in a sleepy biology classroom. A right forearm resting gently on the burgundy leather of the sofa appeared to be detached from the rest of my body. Seated, body down to my knees buried in the recesses of a tired couch, arms resting heavy at my sides, I did not believe that I could move if I wanted to. Below the altitude of scrunched-up sweater sleeves, hair rose curiously in response to a passing draft. Otherwise my hand looked small and white and completely made of marble.

Is this what they mean? – Stoned.

“I can’t move,” I told my friend, voice lowered. She twitched; I took on faith that I was high. Cynicism, which replaces guilt in the brain for pleasures felt in the body, prevents me from believing I truly sense anything. For example: it was not love that I felt at the age of twelve, that soft twitch at the center of myself in the not-quite-gut but not-quite-groin, palms resting on electrified knees, watching a boy’s face cast a man’s shadow on the wall. Truly Drunk, toes dancing bare across spiky grass into a summer evening, would not wonder rationally at the degree of her intoxication. Guilt produces nothing, says my brain, but cynicism produces a sort of false wisdom, a wobbling spirit at the edge of a cliff that believes it knows what it is like to fall.

My head hovered, disembodied. Gravity pulled neatly at the center of my forehead and at the shadows underneath my eyes. I stood up to walk to the kitchen and undid my muscles when I sat back down, movement forgotten. Not unlike (rationally, I sketched similes) drinking really strong tea while sexily hungover on an unchurched Sunday morning. That, and the summer-camp feel of pool water in your ears, drowning out your friends’ shouting and crying and the music on the radio.

If it was the drug that chiseled me out of a corner of the couch, lifelike, then it was the presence of others that confirmed my non-presence, the blank of my curves against the backdrop of the apartment. In the halo of lamplight, I knew that I could remain without life or motion for years. Around me, couples would kiss for good luck; children would drop pennies on my stone toes. Wax dripped poetic from a candle onto the coffee table. Unmoving, my eyes greedily thumbed off a pinch of crusty baguette.

One of my uncles, an alcoholic, golfed. When I saw him, polo and khakis pressed, I could not imagine him true – violent, uncontrolled. In the wastebasket of his bathroom trash there were bottle caps, cigarette butts. He smelled cleanly stale. His face was tanned, an unmoving mask.

There are a number of safe things that can bring, you back into awareness of an untrue self – the expanse of a green lawn, the neat swing of metal. But loneliness colors every true intersection of mind, spirit, and body; in your fullness, you cannot join to anyone else, unaware as you are of yourself. There is no opening. When my friend began reading the Tao in soft tones – when we had consumed poem after poem, pita chip after pita chip loaded with hummus or some other non-descript, pre-packaged dip – we thought we had come off the high, as if it would wear off immediately. Once again we cared for each other enough to join hands. Once again, we veered slightly off in the aftershock of full self. What we had understood intuitively moments ago, we spoke awkwardly into memory.

When saints smoke pot, there are rules to be followed: lips as dry as prayer, hold the smoke sacred. Fullness, in art as in life, is the over-edited: a concept best represented by sculptured altar pieces which the wax candles adore. Know the raw silk, hold the uncut wood, implores Lao Tzu. Move.

Jennifer Russo is a contributor to This Recording. She is a writer living in Ann Arbor. This is her first appearance in these pages.

"Head Under Water" - Flyleaf (mp3)

"Well Of Lies" - Flyleaf (mp3)

In Which No One Else Will Ever Get To See It

$
0
0

Intimate Sensual Pairs

by SUSAN COHEN

After learning today that The Knife is breaking up, I'm super glad I bought a Stubhub ticket at the last minute to one of their Oakland shows earlier this year. It was their second performance in the United States in eight years, and now, apparently, it was one of their last. Best decision I've ever made.

The Knife had a hype man with them on their North American tour, and I'm sure he's there for their final Europe shows too. Wearing a codpiece and lime green mesh leggings, he led the audience through an official Shaking the Habitual exercise regime, demanding the audience shout “I am alive and I’m not afraid to die” as they did squats and arm routines.

It’s amazing how much physical stamina that dude had — it was a tough 20-or-so- minute routine — but he had nothing on the men and women who made up the show’s cast. The roughly 10 men and women wore matching jewel-toned jumpsuits, an outfit that managed to be both flatteringly feminine and shapelessly masculine, and when the blacklight hit them just right, you noticed their matching lipstick and nail polish, which turned dayglo orange. Everyone was dancing up a storm throughout the entire length of the performance, when they weren't not playing giant instruments that I had never seen before and that may not exist in real, non- Knife life.

After 10 minutes of this spectacle, I came to a realization that this was the queerest fucking thing I’ve ever seen.

Then again, The Knife has always been queer, even when they weren’t being as explicit about it as they are these days. Who could forget the sexless birdmasks, dark wigs, and black costumes of the Silent Shout era? Karin Dreijer-Anderson’s voice is female, but not necessarily feminine; in fact, its sharp quality, at times deepened by the production process, is often more alien than human. Plus her brother Olof Dreijer once told Spin that he won’t perform at festivals with lineups “that have no more than 50% people who identify as men.” (Notice the “identify.”)

But with Shaking the Habitual, the queerness was even more deliberate, not just lyrically (“Let’s talk about gender baby,” Dreijer-Anderson sings in “Full of Fire”), but musically and visually too. “You could say we are queering certain sounds,” Olof Dreijer told Pitchfork. “We learned about how you can play around with different scales and why a group of people have come to agree that one scale is more harmonious than another.” Replace the word “scale” with “sex” in that sentence and you’ll start to understand why cis-gender and cis-sexuality are considered bullshit by many people.

Meanwhile, in promo photos for Shaking the Habitual, Dreijer wore a long red wig, a jumpsuit reminiscent of the ones used in the current show, and heels that went much higher than his sisters. The music video for “A Tooth for an Eye” features a group of seemingly cis men, led by a girl in braids and a referee’s uniform, doing an expertly choreographed dance. Midway through, they form into intimate, sensual pairs, and no one bats an eye. The Knife has said officially that the video “deconstructs images of maleness, power and leadership.” When The Knife performed the Shaking the Habitual show previously in Europe, the outfits were less colorful but equally asexual, an amalgam of glittery spandex basics that walked the line between feminine and masculine, depending on who was wearing what.

The Oakland performance was as sharply arranged as the “A Tooth for an Eye” video. Dreijer-Anderson faded in and out of the foreground, sometimes taking center stage, sometimes falling to the back and letting one of the other performers lip sync, taking show’s themes of ambiguity and equality to yet another level. Dreijer-Anderson and Dreijer weren’t the stars of this show — heck, it was all so vague that I’m not even sure which one was Dreijer. (The siblings are also cleverly listed simply as “performers” on the show’s official cast list, just like their jumpsuited peers.)

During “Pass This On” — a song whose music video featured Swedish drag queen Rickard Engfors — the dancers formed gender-matching couples and tenderly tangoed across the stage. When the set closed with “Silent Shout,” the lighting changed, turning the dance team into a backlit clan of bouncing featureless silhouettes, literally gender-blinding the crowd in the process.

Basically, The Knife created a stage show where gender and sexuality don’t exist. It was like if Britney Spears’ Vegas act was hijacked by the cast of Cirque Du Soleil — if she had a degree in gender studies.

It's a bummer that no one else will get to see it.

Susan Cohen is a contributor to This Recording. This is her first appearance in these pages. You can find her tumblr here and her twitter here.

"Crake" - The Knife (mp3)

"Wrap Your Arms Around Me" - The Knife (mp3)


In Which We Take Anyone Who Speaks Our Language

$
0
0

Good Americans

by KARA VANDERBIJL

The Cosmopolitans
creator Whit Stillman

Aubrey (Carrie MacLemore) is having a rough day. Her bedheaded French boyfriend, for whom she recently left Alabama to live in Paris, has banished her to the maid’s quarters. When he tells her that she can’t use the kitchen in his place anymore, either, she straps on a pair of heels and trudges along the Seine.

But that’s not the worst of it, because Aubrey is about to sit down at a sidewalk cafe with the only people in Paris who are more deplorable than her boyfriend: Hal (Jordan Rountree) and Jimmy (Adam Brody), fellow American expats who lounge around, complaining about French women.

And that’s about all there is to say about The Cosmopolitans. Oscar Wilde once said that good Americans go to Paris when they die, but according to Stillman, you’ve just got to be bored. Paris is the bright pair of shoes or the clever joke you bring to a party to differentiate yourself from everybody else, a word that means nothing anymore except for culture, pleasure, and wealth.

Hal, Jimmy and Aubrey have come to Paris in search of friendship and romance, which, even after watching the pilot, is still the only thing we know about any of them. They have no jobs, no roots, no ambitions: they flit from cafe to house party, glass of wine in hand, seemingly directionless.

Watching them is a little bit like trying to find your way around a foreign city at night when you’ve just spent the past twenty hours on an airplane, not sleeping. You want something to fall from the sky into your lap, like a plotline, or perhaps a conflict, or maybe a free pizza. You want somebody to come up to you and speak in English and lead you to your bed, where you will be able to dream of jokes that are actually funny and dialogue that actually sounds like people speaking to one another.

Expatriatism is all about imagination. We wouldn’t travel at all if visiting other lands didn’t mean exploring the alternate facets of our own personalities. Immature travelers spend most of their time differentiating their new experiences from ones they’re familiar with, asking, “Why isn’t this like what I’m used to?” These people are incapable of imagining the world, or themselves, differently. Seasoned expatriates create a third culture in which aspects of both their native surroundings and their new ones are integrated.

Aubrey, the token fish-out-of-water, is meant to lure us into Hal, Jimmy and Sandro’s territory, the third culture that they’ve created. Normally it’d be hard to believe that a woman on her own in a foreign country would comfortably sit with three strange guys at a sidewalk cafe. These things seem to happen naturally when you’re abroad: it’s like your ears have been fine-tuned to hear your language from hundreds of yards away, that you’ve been outfitted with an internal GPS that leads you to others like yourself.

Still, it’s Aubrey’s willingness to hang out with them that propels The Cosmopolitans into the far reaches of fantasy. Within a few minutes, Hal, Jimmy, and Sandro insult her drink order (sangria) and launch a smear campaign against Hal’s ex, Clemence, who, for all intents and purposes, seemed like a pretty decent person, just not into weird entitled creeps like Hal who are only capable of one facial expression.

Aubrey can’t see these red flags because she’s still convinced that her bedhead boyfriend wants to be with her. Perhaps she believes she’s living inside Beauty and the Beast.

It’s a pity because Adam Brody, of The O.C. fame, is genuinely funny, and he brings his open Seth Cohen face to this role. Unfortunately, this only serves to make the other characters, especially Hal, look like stock photography someone from Yale might use in an admissions brochure.

Of course, one might concede that in a foreign country, when you’ve just been dumped by your beast of a boyfriend and you’re all alone, you’ll take anyone who speaks your language or shows a sign of friendliness. In which case I’d like to tell Aubrey and anybody else considering this as a new fall show: stick to singing candlesticks and talking clocks. The Cosmopolitans may look good, but really, it’s positively primeval. Plus, Gilmore Girls just landed on Netflix.

Kara VanderBijl is the managing editor of This Recording.

"Hard To Love" - The Drums (mp3)

"If He Likes It Let Him Do It" - The Drums (mp3)


In Which Kenneth Patchen Created Us All In His Image

$
0
0

"Hiya Ken Babe, What's The Bad Word For Today?"

by JONATHAN WILLIAMS

They've never made a movie about Kenneth Patchen. Now they're too late. The only guy who could play him, Robert Mitchum has just died. He had the voice, the build and the sleepy eyes. He had the laconic barroom style to deliver a poem like "The State of the Nation" whose last line I have altered in the title above.

It's difficult to fathom why he's not read by the young these days. Do the young have enough grounding to read any unconventional poet these days? Basil Bunting always insisted there were still plenty of "unabashed" boys and girls about, but their slovenly teachers had never trained them in the literature that mattered. There were three or four decade when Kenneth Patchen was a poet who mattered to a lot of people. I was having lunch last autumn with J. Laughlin, Patchen's old friend and his publisher at New Directions. He shook his head sadly, "They just don't read Kenneth anymore - how can we understand that?" I don't think we can understand. Each century produces a Blake and a Whitman, a Ryder and a Bruckner. They didn't arrive out of the empyrean with fan clubs and web sites.

Patchen wrote at a time when most writers stayed home and wrote, in places like Rutherford, Old Lyme, Fort Atkinson and Sausalito. The previous generation was into celebrity and reporters followed them to Pamplona, the rue de Fleurus and Rapallo. Patchen had to stay home, and stay in bed - his wrecked back gave him no mercy. Except for a few sessions of poetry-and-jazz with Charles Mingus in New York in the late 1950s, and with the Chamber Jazz Sextet in California, Patchen was a private man, not on stage.

It is instructive, perhaps, to contrast this kind of life with that of two later poets who have recently died: Allen Ginsberg and James Dickey. Both of these men spent early years working public relations on Madison Avenue and neither stopped jabbering for a single second thereafter. Ginsberg was a mensh. His desire to be the spokesman of his generation was the last thing I could imagine or would want, but we always enjoyed being together on what were rare occasions in San Francisco, New York or here in Dentdale. He upset a lot of squares, he opened up liberating avenues, he put himself on the line; but, may I be excused if I have to say that most of the poetry struck me as hard-sell advertising. I was reminded more of Walter Winchell and Gabriel Heater and Paul Harvey than of the Buddha.

Sheriff Dickey, more bubba than mensh, was unbelievably competitive. At a poetry occasion in the White House put on by Rosalynn Carter and Joan Mondale, Jim barely had time to shake my hand. He whispered to his wife, "Come on, honey, we got to work the crowd." He never forgave me for writing to someone that Deliverance was about as accurate about goings-on in Rabun County, Georgia, as Rima the Bird-Girl was in Green Mansions, by W.H. Hudson. I also made the mistake of quoting Mr. Ginsberg on Deliverance: "What James Dickey doesn't realize is that being fucked in the ass isn't the worst thing that can happen to you in American life."

Compared to these public operators, Patchen was as remote as one of the Desert Fathers. (The Desert Fathers is not a rock group.)

I sat in Concourse K at O'Hare Airport in Chicago recently, reading The New York Times and Fanfare and watching the passing parade for about three hours. This is very sobering work. I am not sure I saw one individual who was dressed individually. Most people looked like mall-crawlers. Most people looked overactive and stressful. They were moving at speed, like ants in a formicary. Others were merely bland and moved like wizened adolescents. It would be future ti suggest any sign of appetite among these citizens for Kenneth Patchen or J.V. Cunningham or Wallace Stevens or James Laughlin. A few people waiting for the evening flight to Manchester were reading paperbacks purchased at the airport. John Grisham and Danielle Steele and Dean Koontz were most in evidence. (One young man was reading Camus, but we must pretend he doesn't exist.) I decided to buy The Door to December by Dean Koontz, "a number one New York Times author who currently has more than 100 million copies of his books in print."

Whatever the cause of his crumbling self-control, he was becoming undeniably more frantic by the moment.

Wexlers.

Manuello.

Why was he suddenly so frightened of them? He had never liked either of them, of course. They were originally vice officers, and word was that they had been among the most corrupt in that division, which was probably why Ross Mondale had arranged for them to transfer under his command in the East Valley; he wanted his right-hand men to be the type who would do what they were told, who wouldn't question any questionable orders, whose allegiance to him would be unshakable as long as he provided for them. Dan knew that they were Mondale's flunkies, opportunists with little or no respect for their work or for concepts like duty and public trust. But they were still cops...

That goes on for 510 pages. So, fellow-stylists, there is hope for us all, whether you like square hamburgers or round hamburgers. I go for the round ones, as I am sure Mr. Koontz does. McDonald's has sold over ninety billion of the little buggers. Here's to LitShit and a kilo of kudzu up the kazoo!

New York publishers calculate the fate of the American novel is in the hands of five thousand readers who will actually purchase new hardback fiction. At the Jargon Society we would by delighted to sell five hundred copies of the latest poetry by Simon Cutts or Thomas Meyer. It might take ten years. Of course, out there in the real world, thousands of verse- scribbling plonkers crank out a ceaseless barrage of what Donald Hall calls the McPoem.

Oracles in high places proclaim a Renaissance of Poetry. A distributor tells me of the purchase of twenty thousand hardback copies by a woman poet I have never read nor hear of. The hermits and caitiffs I hang out with don't explore other parts of the literary jungle, and just stick to their Lorine Niedecker and Basil Bunting, and even drag out volumes of Kenneth Patchen when the fit is on them. We few, we (occasionally) happy few...

How did we odd readers find our way to Kenneth Patchen? He, of course, would never have been in the curriculum at St. Albans School or at Princeton, my adolescent stomping grounds. I stumbled across a pamphlet by Henry Miller, Patchen: Man of Anger & Light. Miller I knew about because evil Time magazine had so vilified his book The Air Conditioned Nightmare that I took the next bus to Dupont Circle in Washington D.C. and bought it at the excellent bookshop run by Franz Bder. By the time I was ten I had the knack of discovering the books important to me beyond those required at school. But I was lucky. I had three good teachers in prep school and I lived in a city with real bookstores. And reading books was something you did. Nowadays, books are a form of retro-delivery system with no cord to plug in. Way uncool.

By the time I was twenty and had dropped out of Princeton to study painting and printmaking and graphic design, I was into Patchen in a big away. I read him along with Whitman, Poe, H.P. Lovecraft, Williams, e.e. cummings, Edith Sitwell, Robinson Jeffers, Hart Crane, Kenneth Rexroth, Thoreau, Randolph Bourne, Kropotkin, Emma Goldman, Henry Miller and Paul Goodman. Before I was twenty-five I owned the manuscripts of The Journal of Albion Moonlight and Sleepers Awake. I had over forty of Patchen's painted books and a few watercolors. I'd published KP's Fables & Other Little Tales during my stay in the medical corps in Germany. What was the attraction?

Patchen was an original. Someone said, equally, of Babe Ruth: "It's like he came down from out of a tree." He was ready to play. Patchen and the Babe were heavy hitters, and nobody struck out more.

There is a towering pile of Patchen poems that amounts to not much. But he really does have twenty or twenty-five poems that seem as good as anybody's. He had power, humor, intuitive vision and a kind of primitive nobility. He knew his Blake and Rilke. He loves George Lewis' clarinet and Bunk Johnson's comet. He drew fabulous animals and painted very well. There was nobody like him.

Oh nobody’s a long time
Nowhere’s a big pocket
To put little
Pieces of nice things that
Have never really happened
To anyone except
Those people who were lucky enough
Not to get born

Oh lonesome’s a bad place
To get crowded into
With only
Yourself riding back and forth
On
A blind white horse
Along an empty road meeting
All your
Pals face to face

Oh nobody’s a long long time

The poet, painter and publisher Jonathan Williams died in 2008.

"I've Waited For So Long" - The Juan MacLean (mp3)

"The Sun Will Never Set On Our Love" - The Juan MacLean (mp3)

Viewing all 1192 articles
Browse latest View live




Latest Images