Category: Recommended Reading
Tuesday Poem
Minna Needs Rehearsal Space
.
Minna has gotten Lars to elaborate on his text.
Lars has written, But I'm not really in love with you.
Lars has always understood how to cut to the chase.
Minna can't wring any more out of him.
Lars is a wall.
Lars is a porcupine.
Minna lies in bed.
The bed is the only place she wants to lie.
Minna hates that he began the sentence with But.
Minna feels that there was a lot missing before But, but
Minna should have apparently known better.
Men are also lucky that they possess the sperm.
Men can go far with the sperm.
Men with full sacks play hard to get.
Men with full sacks turn tail, but
Minna can manage without them.
Minna is a composer.
Minna feels her larynx.
The larynx isn't willing.
Minna can hear her neighbor come home.
Minna places an ear against the wall.
The neighbor dumps his groceries on the table.
The neighbor takes a leak.
Minna puts Bach on the stereo.
Minna turns up Bach.
The neighbor is there instantly.
Bach's cello suites are playing.
Minna's fingers are deep in the wound.
Minna looks at the portrait of Lars.
The portrait is from the paper.
Lars is good at growing a beard.
Lars sits there with his beard.
Lars's mouth is a soft wet brushstroke.
Chest hair forces his T-shirt upward.
The beard wanders downward away from his chin.
An Adam's apple lies in the middle of the hair.
Minna has had it in her mouth.
Minna has tasted it.
Minna has submitted, but
Lars looks out at someone who isn't her.
Lars regards his reader.
It isn't her.
On the Life and Work of Eileen Chang
Jamie Fisher at The Millions:
Everyone has her own Eileen Chang story. For many readers, the story crystallizes in a single horrifying detail. First you gasp. Then you thrill. When I mentioned Chang’s name to a Chinese friend, she smiled wickedly: “In one of her stories, there is a woman so thin, she can slide her jade bracelet up to the elbow.”
Before Joan Didion, there was Eileen Chang. A slender, dramatic woman with a taste for livid details and feverish colors, Chang combined Didion’s glamor and sensibility with the terrific wit of Evelyn Waugh. She could, with a single phrase, take you hostage. Chinese readers can’t forget her; most Western readers have never met her. This year, on the 20th anniversary of her death, the recent NYRB edition of Chang’s Naked Earth provides an opportunity for new readers to fall in love, and for converts to renew what you might call (borrowing a tongue-in-cheek title from her oeuvre) Half a Lifelong Romance.
Chang was born in Shanghai in the 1920s, the daughter of violent extremes. Her mother was an elegant socialite, the product of a Western education; her father was a violent opium addict, descended — ironically enough — from the anti-opium crusader Li Hongzhang. After her father took a concubine, her mother fled for Western Europe, where she skied the Alps in bound feet. Chang was five years old.
more here.
welcome to fabulous las vegas
Stefany Anne Golberg at The Smart Set:
The Welcome sign stands in the town of Paradise, four miles outside Las Vegas city limits, near the huge stone columns of the old McCarran Airport and the bright green hologram of the Bali Hai Golf Club. The sign does not face Las Vegas, but rather looks away. So, if you live in Las Vegas, and you want to see the sign, you have to leave the city. You have to get in your car and head south out of town, turn around, and come back in. If, for some reason, you find yourself at the south end of Las Vegas Boulevard, all you will see is the sign’s backside suggesting you DRIVE CAREFULLY and Come Back SOON.
It makes sense that the great icon of Las Vegas is not actually in Las Vegas. Most cities keep their icons within city walls for the benefit of its citizens. Any Los Angeleno standing on the corner of La Brea and Hollywood Boulevard can see the HOLLYWOOD sign. The Eiffel Tower can be viewed from all over Paris; the Kremlin is in the heart of Moscow. What makes the “Welcome to Fabulous Las Vegas” sign true to Las Vegas is that it exists mostly for visitors.
more here.
The Killing of Osama bin Laden
Seymour Hersh at The London Review of Books:
It’s been four years since a group of US Navy Seals assassinated Osama bin Laden in a night raid on a high-walled compound in Abbottabad, Pakistan. The killing was the high point of Obama’s first term, and a major factor in his re-election. The White House still maintains that the mission was an all-American affair, and that the senior generals of Pakistan’s army and Inter-Services Intelligence agency (ISI) were not told of the raid in advance. This is false, as are many other elements of the Obama administration’s account. The White House’s story might have been written by Lewis Carroll: would bin Laden, target of a massive international manhunt, really decide that a resort town forty miles from Islamabad would be the safest place to live and command al-Qaida’s operations? He was hiding in the open. So America said.
The most blatant lie was that Pakistan’s two most senior military leaders – General Ashfaq Parvez Kayani, chief of the army staff, and General Ahmed Shuja Pasha, director general of the ISI – were never informed of the US mission. This remains the White House position despite an array of reports that have raised questions, including one by Carlotta Gall in the New York Times Magazine of 19 March 2014. Gall, who spent 12 years as the Times correspondent in Afghanistan, wrote that she’d been told by a ‘Pakistani official’ that Pasha had known before the raid that bin Laden was in Abbottabad. The story was denied by US and Pakistani officials, and went no further.
more here.
When the Naxals Speak Your Language
The Wire (India) is new media venture founded by Siddharth Varadarajan and Sidharth Bhatia that seeks to “reimagine the media as a joint venture in the public sphere between journalists, readers and a concerned citizenry.” Debarshi Dasgupta:
It is early December. A chill has started to descend along with the opaque dark that cloaks Bijapur’s jungles every night. A few locals in Bedre, a small village on the banks of the Indrawati and next to the border with Maharashtra, have gathered around a crackling fire. Without televisions in most households, congregating around some warmth is how villagers here like to keep themselves entertained on long winter evenings. One of them, a government worker, flicks open his phone. He decides the occasion merits a song.
I await a mawkish Bollywood number. It is all I have heard public bus stereos belt out in Chhattisgarh. On these long, rough journeys, escapist refrains have turned out to be a favourite of the people here, scarred, not unlike their roads, by the persistent Naxal conflict.
Instead, a booming female voice plays out of his phone. An infectious rhythmic drumbeat and a rousing chorus roll in to keep her company. “Jaburjaburjangalte deke atina, laljhandalaltenima des kinaam…” the Gondi recording progresses.
She is singing of her love for her hero, not one who cavorts to woo her but a martyr who has died defending her land. “The beauty of the jungle you fought for misses you. Where are you? Where is your voice? We can’t hear it.” There’s little doubt about the song’s provenance and loyalty; it is one performed to support the Naxals. But this gathering is one of ordinary villagers, not Naxal cadres bonding around a boot-camp bonfire. Why would they play a rebel song openly, and before an outsider?
More here.
The 100 best novels: No 86 – Portnoy’s Complaint by Philip Roth (1969)
Robert McCrum in The Guardian:
No 86 marks a milestone: it’s the first time in this series that we have listed a living writer. From this (1969) publication date, we shall now be addressing contemporary English and American literature, and many living writers. Inevitably, the choice will be correspondingly more difficult. Portnoy’s Complaint is the novel that made Philip Roth an international literary celebrity, an iconic book that changed everything for the writer, pitching him headlong into a relentless world of banal public curiosity. After Portnoy, his working life became dominated by answering questions about the inter-relationship of fact and fiction in his writing. Roth’s response has been to take refuge in a variety of alter egos, notably Nathan Zuckerman. He will never again hold forth as brilliantly or as memorably as he does in this novel. The context of Portnoy’s hilarious, ranting monologue is established on the closing page. “So [said the doctor]. Now vee may perhaps to begin. Yes?”
