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Niagara on the Lake, Ontario, Canada
My virtue is that I say what I think, my vice that what I think doesn't amount to much.

Friday, July 26, 2024

Dorothy Parker

 “She entered a room like an apology. Tiny and startlingly delicate, she moved with steps that were short and brittle, and she appeared to be so fragile that you feared she would shatter if you touched her.

“The first image that comes to my mind is this: She sits in her accustomed place in the living room of the house in California she shared with her husband Alan Campbell. In her lap is the ever-present dog, a yapping brown poodle. Beside her on the sofa are her reading glasses, and in front of her is a large ashtray filled with the remains of the cigarettes she smokes constantly. Cellophane from a discarded Chesterfield package catches fire and the flames go unnoticed while she complains of the dearth of talent to be found in the pile of books of every size and subject that crowd the top of the coffee table. One of those days of everlasting and monotonous sunshine is drawing to a close, and Alan has made Scotches for the two of them while I sip No-Cal soda, feeling somehow guilty and unforgiven for being a teetotaler.”

—From Wyatt Cooper’s excellent piece on Dorothy Parker in ESQUIRE, July, 1968.

Friday, July 19, 2024

“Dear Unfeeling Martinis,” a Poem by JoAnna Novak

 Bless you,

stomach pump.


Bless you,

puce hole.


Bless you,

balcony


and cool

air that finds me


éthylique

on the floor


pushing in

the broken door.


I open it

and hate it


with equal

slosh.


Just wetting the

cork,


bless it.

Shorn


plum buds

pruned


from Thai basil

in Italian terracotta.


I do miss

traveling


with my poison

pen, loving


this cocktail,

lying about


would-be

devils, demons-


trating my vile

behaviors, all


excessed

and how


feckless

I used to


behave

bowing


boiling,

baring


my voluptuous

shoulders.


From Domestirexia by JoAnna Novak. Copyright © 2024.

Via Literary Hub

JD Vance And The Art of the Deal of the Hillbilly.

Many of the most popular books and television shows of 20th century America fixated on the idea of individualist prosperity. 
With the news that JD Vance was chosen by Donald Trump to be the Vice Presidential candidate, I shuddered in recognition. As an author and an editor, I have been publishing-adjacent for most of my life. Vance’s story—as recounted in his bestselling book Hillbilly Elegy, a rags-to-riches tale that struck a chord with Americans—was brought into the world by the liberal Manhattan publishing industry in 2016, and after that adapted and adopted by Democratic Hollywood. Pundits quoted Vance constantly for at least a year after the book was published, as if the author was a seer of the poor. They and the progressive culture-makers who were originally smitten by the story of Vance’s gritty early life as well as his speedy ascent into the overclass, are as responsible for Vance’s mythos as Peter Thiel and the Republican Party. In this way, Vance is our monster. Welcome to the Art of the Deal of the Hillbilly.

Read More: Literary Hub

Saturday, July 13, 2024

Two poems about burning leaves

        FIRE

On Saturday I supervised a change of state:

a pile of brush two-years high
had reached the point it couldn’t wait.

In our field beside the tracks
where berries would be planted soon
my job’s to make sure nothing
changes state without intention that might
need a dousing intervention with all-out
sirens and pump-truck monsoons.

So, I stand with shovel at attention
near a snake of garden hose in grass
and watch for flares of flaming gases
that might leap to nearby desiccated leaves
or other inappropriate locations having
slipped the noose of well-soaked earth I’d
laid in cautious preparation.

Far-off low-pressure voids not calling
desperately to be satisfied, the breeze
is dangerously slight.

Under blue, where gray clouds collide,
the sun can’t scorch with all its might;
still, I wear a straw corona, brimmed
to outwit melanoma

A nearby chipmunk, overseeing,
first hops forward then goes fleeing,
she does this half a dozen times,
like me, to wit:  another
vacillating state of being

Jim Culleny
5/2/13
(3 Quarks Daily)


SUNSET

At the very moment the sun sets,
a farmer burns dry leaves.
It is nothing, this fire.
It is a small, controlled thing,
like a family ruled by a dictator.
Still, when it burns,
the farmer disappears;
he is invisible from the road.
Compared to the sun, all fires here
are short, amateurish;
they end when the leaves are consumed.
Then the farmer reappears, raking up ashes.
But death is real.
As if the sun had finished what it came to do,
had made the field grow and then
inspired the burning of the earth.
So now it can set.

Louise Gluck
From the collection of poems A Village Life (2020)

Tuesday, July 09, 2024

An Excerpt From Sally Rooney’s New Novel


 

Ivan is standing on his own in the corner while the men from the chess club move the chairs and tables around. The men are saying things to one another like: Back a bit there, Tom. Mind yourself now. Alone, Ivan is standing, wanting to sit down but uncertain which of the chairs need to be rearranged still and which are in their correct places already. This uncertainty arises because the way in which the men are moving the furniture corresponds to no specific method Ivan has been able to discern. A familiar arrangement is slowly beginning to emerge — a central U shape composed of ten tables, with ten chairs along the outer rim of the shape, and a general seating area around the outside — but the process by which the men are reaching this arrangement seems haphazard. Standing on his own in the corner, Ivan thinks with no especially intense focus about the most efficient method of arranging, say, a random distribution of a given number of tables and chairs into the aforementioned shape. It’s something he has thought about before, while standing in other corners, watching other people move similar furniture around similar indoor spaces: the different approaches you could use, if you happened to be writing a computer program to maximize process efficiency. The accuracy of these particular men would be, Ivan thinks, pretty low, like actually very low.

More here

Fireworks

 


Naomi Shihab Nye is an Arab American poet, editor, songwriter, and novelist.

Monday, July 01, 2024

Goodnight, Philip

A short story by Jordan Gisselbrecht :

I called Philip before I moved away to school and he told me to meet him at the hotdog stand, the one that served breakfast late. Even though it was August, the trees had already started to turn. I thought at first that I was getting sick because I couldn’t place the difference, but then I realized the trees were doing what they always did, got yellow, just really early this year for some reason.

Philip had already ordered his food by the time I got there, burger and fries on a scallop-rimmed paper plate, a napkin beside it, plastic knife and fork on the napkin. He had set the utensils the perfect distance apart, leaving the perfect amount of napkin around them, the paper edges of the napkin, in turn, set evenly with the plate and running parallel to the edges of the tray, so there was a perfect amount of tray around the napkin, forming a red border between it and the plate and the tray’s raised rim. He must have taken a lot of Adderall that morning. He was sitting up very straight, individually salting each bite, his wrist flicking just so as he shook the shaker, a tiny bit gay, and extremely angry.

I don’t really remember how that first conversation went. Not well.

But later that night, it got better. We were lying in the dark on his bedroom floor. His parents had gone to bed a long time ago, and it felt good to talk in the dark—we had found a bottle of vodka and drank all of it, patching things over while we drank, and now we said whatever came to mind, really softly, smacking our lips because our mouths were dry.

“It’s funny that it falls on me,” he said. “To stay here and answer for everything bad that we did.”

“Who’s been bad?” I asked. “When did we do a bad thing?”

“It’s funny that it falls on me,” he said. “To stay here and answer for everything bad that we did.”

“Any night,” he said. “Any night. I don’t know. It comes back to me when I drink a Diet Coke in the morning. Something stupid and mean that I had said the night before that had seemed well put and funny at the time. Like drunk texting your brother on your phone. Deranged. Something I need to apologize for.”

“I know what you mean.”

“Yeah?”

“Yeah,” I said. “Like sometimes when I’m hungover somewhere off alone. I feel the need to sit on my bed and make myself sad.”

“Right! Exactly!”

“I thought we were going to whisper?”

“I get excited,” he said, whispering. “OK. I know what you mean.”

“I do,” I said. “I really do. I sit on the floor. I dump all my dirty clothes on the floor, and then I get naked and I sit on them.”

“Your bare ass on the clothes?”

“Nothing better,” I said. “And I look up at the bed and imagine a boy there. Maybe you. I don’t know. Maybe I’m imagining you up on my bed, pretending to sleep up there, and it’s me on the pile of dirty clothes. Boner on my belly. The room’s hot from the air vent. The room smells like hot air vent and dirty clothes. You’re awake with your eyes closed, breathing.”

“That’s not what I’m talking about at all,” he said.

He rolled into my arms, very warm and very drunk. Oh my gosh, he was saying.

“You get to go,” he said. “You go to college. I stay and get nothing.”

There was no point denying that, so I didn’t answer.

Instead I said, “they say it’s like a window to your heart.”

“What is?”

“You know.”

He nodded. He knew.

“Sometimes,” he said. “Sometimes. I don’t know.”

“It’s like a bad cough all the time,” I said, reaching.

“So don’t smoke.”

“It’s like a bad cough all the time,” I said, reaching.

“So don’t smoke.”

“Or it’s like getting naked, removing your skin, neatly folding your skin over the chair. Having someone join you on the chair.”

He didn’t answer at first.

Then he said, “Time to sleep,”

“One more analogy,” I said.

“No. Goodnight.”

“OK?”

“Goodnight.”

“OK. Goodnight.”
                                            ************************

via Dirt where you can find more short stories and other stuff

Saturday, June 22, 2024

Interlibrary Loan Sharks

 

The Yellow Wall Paper



The Yellow Wall Paper  is a semi-autobiographical short story by Charlotte Perkins Gilman, aka Charlotte Perkins Stetson, an American writer and social reformer. She wrote it after a severe bout of postpartum psychosis. Jane, a writer and young mother, is prescribed a rest treatment by her physician husband John, who takes her to a remote country estate for the summer. She becomes obsessed with the peculiar yellow wallpaper in the bedroom he has chosen for her.

IT is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.

A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity,—but that would be asking too much of fate!

Still I will proudly declare that there is something queer about it.

Else, why should it be let so cheaply? And why have stood so long untenanted?

John laughs at me, of course, but one expects that in marriage.

John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.

John is a physician, and perhaps—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—perhaps that is one reason I do not get well faster.

You see, he does not believe I am sick!

And what can one do?

If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression,—a slight hysterical tendency,—what is one to do?

My brother is also a physician, and also of high standing, and he says the same thing.

So I take phosphates or phosphites,—whichever it is,—and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again.

Personally I disagree with their ideas.

Personally I believe that congenial work, with excitement and change, would do me good.

But what is one to do?

I did write for a while in spite of them; but it does exhaust me a good deal—having to be so sly about it, or else meet with heavy opposition.

I sometimes fancy that in my condition if I had less opposition and more society and stimulus—but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.

So I will let it alone and talk about the house.

The most beautiful place! It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people.

There is a delicious garden! I never saw such a garden—large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.

There were greenhouses, too, but they are all broken now.

There was some legal trouble, I believe, something about the heirs and co-heirs; anyhow, the place has been empty for years.

That spoils my ghostliness, I am afraid; but I don't care—there is something strange about the house—I can feel it.

I even said so to John one moonlight evening, but he said what I felt was a draught, and shut the window.

I get unreasonably angry with John sometimes. I'm sure I never used to be so sensitive. I think it is due to this nervous condition.

But John says if I feel so I shall neglect proper self-control; so I take pains to control myself,—before him, at least,—and that makes me very tired.

I don't like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty, old-fashioned chintz hangings! but John would not hear of it.

He said there was only one window and not room for two beds, and no near room for him if he took another.

He is very careful and loving, and hardly lets me stir without special direction.

I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more.

He said we came here solely on my account, that I was to have perfect rest and all the air I could get. "Your exercise depends on your strength, my dear," said he, "and your food somewhat on your appetite; but air you can absorb all the time." So we took the nursery, at the top of the house.

It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playground and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls.

The paint and paper look as if a boys' school had used it. It is stripped off—the paper—in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.

One of those sprawling flamboyant patterns committing every artistic sin.

It is dull enough to confuse the eye in following, pronounced enough to constantly irritate, and provoke study, and when you follow the lame, uncertain curves for a little distance they suddenly commit suicide—plunge off at outrageous angles, destroy themselves in unheard-of contradictions.

The color is repellant, almost revolting; a smouldering, unclean yellow, strangely faded by the slow-turning sunlight.

It is a dull yet lurid orange in some places, a sickly sulphur tint in others.

No wonder the children hated it! I should hate it myself if I had to live in this room long.

There comes John, and I must put this away,—he hates to have me write a word.



Learn how 'The Yellow Wallpaper' changed women's medicine



The little Peruvian guide to public speaking

While living in Lima, Peruvian American writer Daniel Alarcón stumbled upon a strange little book featuring inspirational  advice for public speaking.


Aeon Videos

The Wisdom Of Alice Munro

  A Facebook Memory from 12 years ago…


“There is a limit to the amount of misery and disarray you will put up with, for love, just as there is a limit to the amount of mess you can stand around a house. You can't know the limit beforehand, but you will know when you've reached it. I believe this.”

― Alice Munro

Monday, June 17, 2024

Modi government plans to prosecute Arundhati Roy.



Arundhati Roy, the internationally recognized author and activist, is currently wanted by the Indian authorities. This comes after the Lieutenant General of Delhi granted police permission to prosecute the Booker Prize-winning novelist under a draconian anti-terrorism statute called the Unlawful Activities Prevention Act. This statute allows the state to incarcerate a person before they’re given a trial.

Though long in the crosshairs of India’s far-right administration for her outspoken critique of the BJP (Prime Minister Modi’s proto-fascist ruling party), Roy’s specifically being targeted for remarks she made in a 2010 speech.

At a conference at the Little Theatre Group in New Delhi, Roy delivered a lecture critiquing India’s “extractive colonial economy,” and the state’s occupation and administration of Kashmir. Her critics at the time decried this as a call for Kashmiri secession.

Read more: Literary Hub