Nawal Arjini at the NYRB:
The Hungarian poet Géza Röhrig, the Shark Tank shark Kevin O’Leary, and Timothée Chalamet walk into a bar. The bar is the restaurant of the London Ritz, and it’s 1952. Gwyneth Paltrow is also there, at another table. O’Leary, playing the part of the ink tycoon Milton Rockwell in Josh Safdie’s Marty Supreme, notices the tattoo on the arm of Röhrig’s character, Béla Kletzki. “He used to defuse bombs for the Nazis,” says Timothée, as the ping-pong ingenue Marty Mauser. “Tell ’em the story you told me.” “My guests are waiting,” Rockwell replies. “Wait,” says Marty, “you’re gonna love this.”
Kletzki tells him that, out of respect for his table tennis talent, guards at Auschwitz used to give him unexploded ordnance to defuse, a job that allowed him to leave the camp for a few hours. One day he noticed a beehive, smoked the bees out, and covered himself in honey to bring back to his fellow prisoners under his uniform: cut to a poundingly soundtracked shot of starving men licking honey off Kletzki’s bare chest. While he’s telling this story the unibrowed, mustachioed Marty has been making grotesque faces over his shoulder to the fading actress Kay Strong (Paltrow), Rockwell’s wife; later that night she shows up at his room.
more here.
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Traditionally, autumn is when publishers bring out their most ambitious novels: the buzziest debuts, the most hotly anticipated returns, the heaviest hitters. This year, many of them were also physically heavy, with page counts that climbed, dizzyingly, into the high hundreds and even four digits. (One independent press told us that producing these books broke their printer.)
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Austere like her prose and engaged like her subjects, Sontag was my first inkling of avant-garde culture, my initial point of access to an edgy alternative to the Anglophonic modernism — Yeats, Eliot, Pound, Joyce — that represented high literature. Her European protagonists — Lukács, Sartre, Camus, Leiris, Artaud, Weil, Sarraute, Pavese, Cioran, Ionesco, Godard, Bresson, Resnais, Bergman — were exotic to me, and the notion that philosophers, writers, and filmmakers could be political was even more so. I didn’t understand the many differences among these figures, but I sensed a shared posture, one that pointed to a way around the given terms of American culture, mass versus elite, and American politics, liberal versus conservative. I, too, wanted to be against. If Sontag could cross over to my living room, maybe I could cross over to her New York downtown (which even then I took to be the name of an elective affinity as much as an actual place), and I was hardly alone in wanting to do so.
When amateur writers pitch headlines to The Onion, their jokes often flop. One reason may surprise you: They use too many funny words that wink at the reader, “wacky” elements that sabotage any chance at good parody, former Onion editor Joe Randazzo told our sister site Big Think in 2012.
IT’S 2025, and the turn to genre is old news. Since at least the 1980s, writers of “literary fiction” have been adopting the forms and techniques of popular “genre fiction”—a huge category that includes detective novels, sci-fi, spy thrillers, fantasy, horror, Westerns, and all varieties of romance. By 2012, China Miéville
Penned in August 1925
Bilge’s description of Matthew Lillard’s facial journey in the
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