Watch the trailer for Licorice Pizza, Paul Thomas Anderson’s latest film

 

Licorice Pizza will be in theaters around Thanksgiving.

Interior with Reclining Women — Victor Pasmore

Interior with Reclining Women, 1946 by Victor Pasmore (1908-1998)

As Goethe said, theory is gray, but the golden tree of life is green | Donald Barthelme

I know a painter who feels the same way about being a painter. Every morning he gets up, brushes his teeth, and stands before the empty canvas. A terrible feeling of being de trop comes over him. So he goes to the corner and buys the Times, at the corner newsstand He comes back home and reads the Times. During the period in which he’s coupled with the Times he is all right. But soon the Times is exhausted. The empty canvas remains. So (usually) he makes a mark on it, some kind of mark that is not what he means. That is, any old mark, just to have something on the canvas. Then he is profoundly depressed because what is there is not what he meant. And it’s time for lunch. He goes out and buys a pastrami sandwich at the deli. He comes back and eats the sandwich meanwhile regarding the canvas with the wrong mark on it out of the corner of his eye. During the afternoon, he paints out the mark of the morning. This affords him a measure of satisfaction. The balance of the afternoon is spent in deciding whether or not to venture another mark. The new mark, if one is ventured, will also, inevitably, be misconceived. He ventures it. It is misconceived. It is, in fact, the worst kind of vulgarity. He paints out the second mark. Anxiety accumulates. However, the canvas is now, in and of itself, because of the wrong moves and the painting out, becoming rather interesting-looking. He goes to the A&P and buys a TV Mexican dinner and many bottles of Carta Blanca. He comes back to his loft and eats the Mexican dinner and drinks a couple of Carta Blancas, sitting in front of his canvas. The canvas is, for one thing, no longer empty. Friends drop in and congratulate him on having a not-empty canvas. He begins feeling better. A something has been wrested from the nothing. The quality of the something is still at issue-he is by no means home free. And of course all of painting-the whole art-has moved on somewhere else, it’s not where his head is, and he knows that, but nevertheless he-

-How does this apply to trombone playing? Hector asked.

-1 had the connection in my mind when I began, Charles said.

-As Goethe said, theory is gray, but the golden tree of life is green.

From “City Life” by Donald Barthelme.

Blast Furnaces — Elsie Driggs

Blast Furnaces, 1927 by Elsie Driggs (1898-1992)

Protocol Sentences — Eduardo Paolozzi

Protocol Sentences, 1967 by Eduardo Paolozzi (1924-2005)

“All art constantly aspires to the condition of tales from the trash stratum”

Jean Giono’s The Open Road (Book acquired like last week or maybe the end of the week before; I can’t remember, September’s been rough)

I’m a big fan of picaresque novels about con artists. Jean Giono’s The Open Road is forthcoming in translation by Paul Eprile from NYRB. Their blurb:

The south of France, 1950: A solitary vagabond walks through the villages, towns, valleys, and foothills of the region between northern Provence and the Alps. He picks up work along the way and spends the winter as the custodian of a walnut-oil mill. He also picks up a problematic companion: a cardsharp and con man, whom he calls “the Artist.” The action moves from place to place, and episode to episode, in truly picaresque fashion. Everything is told in the first person, present tense, by the vagabond narrator, who goes unnamed. He himself is a curious combination of qualities—poetic, resentful, cynical, compassionate, flirtatious, and self-absorbed.

While The Open Road can be read as loosely strung entertainment, interspersed with caustic reflections, it can also be interpreted as a projection of the relationship of author, art, and audience. But it is ultimately an exploration of the tensions and boundaries between affection and commitment, and of the competing needs for solitude, independence, and human bonds. As always in Jean Giono, the language is rich in natural imagery and as ruggedly idiomatic as it is lyrical.

The world is unsatisfactory | Donald Barthelme

We are left, I submit, with the problem of her depressions. They are, I agree, terrible. Your idea that I am not “supportive” enough is, I think, wrong. I have found, as a practical matter, that the best thing to do is to just do ordinary things, read the newspaper for example, or watch basketball, or wash the dishes. That seems to allow her to come out of it better than any amount of so-called “support. ” (About the chasmus hystericus or hysterical yawning I don’t worry any more. It is masking behavior, of course, but after all, you must allow us our tics. The world is waiting for the sunrise.) What do you do with a patient who finds the world unsatisfactory? The world is unsatisfactory; only a fool would deny it. I know that your own ongoing psychic structuralization is still going on-you are thirty-seven and I am forty-one-but you must be old enough by now to realize that shit is shit. Susan’s perception that America has somehow got hold of the greed ethic and that the greed ethic has turned America into a tidy little hell is not, I think, wrong. What do you do with such a perception? Apply Band-Aids, I suppose. About her depressions, I wouldn’t do anything. I’d leave them alone. Put on a record.

From Donald Barthelme’s short story “The Sandman.”

Not Into It — Rhys Ziemba

Not Into It, 2021 by Rhys Ziemba

A long sentence in which the miracle of surrogation is performed before your eyes | Donald Barthelme

From “Daumier” by Donald Barthelme.

Samson and Delilah — Lucas Cranach the Elder

Samson and Delilah, c. 1528–30 by Lucas Cranach the Elder (c. 1472–1553)

A Hedgehog — Hans Hoffmann

A Hedgehog (Erinaceus roumanicus), before 1584 by Hans Hoffmann (c. 1545/1550–1591/1592)

“Identity” — W.S. Merwin

“Identity”

by

W.S. Merwin


When Hans Hofmann became a hedgehog
somewhere in a Germany that has
vanished with its forests and hedgerows
Shakespeare would have been a young actor
starting out in a country that was
only a word to Hans who had learned
from those who had painted animals
only from hearing tales about them
without ever setting eyes on them
or from corpses with the lingering
light mute and deathly still forever
held fast in the fur or the feathers
hanging or lying on a table
and he had learned from others who had
arranged the corpses of animals
as though they were still alive in full
flight or on their way but this hedgehog
was there in the same life as his own
looking around at him with his brush
of camel hair and his stretched parchment
of sheepskin as he turned to each sharp
particular quill and every black
whisker on the long live snout and those
flat clawed feet made only for trundling
and for feeling along the dark undersides
of stones and as Hans took them in he
turned into the Hans that we would see

23 still frames from Yorgos Lanthimos’ The Killing of a Sacred Deer

From The Killing of a Sacred Deer, 2017. Directed by Yorgos Lanthimos; cinematography by Thimios Bakatakis. Via FilmGrab.

Slacker

Donald Barthelme’s Sixty Stories in reverse, Part V

I am rereading Donald Barthelme’s Sixty Stories, starting with the sixtieth story and working my way to the first and writing about it.

Previous entries:

Stories 60-55

Stories 54-49

Stories 48-43

Stories 42-37

This post covers stories 36-31.

36. “The Captured Woman” (Amateurs, 1976)

Simultaneously creepy and funny, “The Captured Woman is narrated by an unnamed man who has, as the title suggests, captured a woman. The story begins with a double capturing: “The captured woman asks if I will take her picture.” The narrator shoots four rolls of film and develops them in his darkroom. He and the woman have consensual sex. She demands to go to church. She writes a letter to her husband, offering him a once-in-a-lifetime chance to rescue her on a white horse. The husband refuses, and the angered captured woman commands the narrator to “Take me to my room and tie me up…I’m going to hate him for a while.”

In the meantime, the narrator commiserates with his pals who have also captured women. He lays out their techniques:

It is true that Q. will never get one. His way of proceeding is far too clumsy. He might as well be creeping about carrying a burlap sack.

P. uses tranquilizing darts delivered by a device which resembles the Sunday New York Times.

D. uses chess but of course this limits his field of operations somewhat.

S. uses a spell inherited from his great-grandmother.

F. uses his illness.

T. uses a lasso. He can make a twenty-foot loop and keep it spinning while he jumps in and out of it in his handmade hundred-and-fifty-dollar boots — a mesmerizing procedure.

C. has been accused of jacklighting, against the law in this state in regard to deer. The law says nothing about women.

X. uses the Dionysiac frenzy.

L. is the master. He has four now, I believe.

I use Jack Daniels.

Is “The Captured Woman” a faintly-sexist satire? Barthelme’s metaphor for his own repeated failures with women? No clue, but one of the story’s late punchlines suggest a depressive view of relationships:  “The trouble with capturing one is that the original gesture is almost impossible to equal or improve upon.”

35. “Rebecca” (Amateurs, 1976)

“Rebecca” is another melancholy “love story.” It begins with poor Rebecca Lizard “trying to change her ugly, reptilian, thoroughly unacceptable last name.” She then visits a dermatologist who can’t help her skin’s greenish hue, before going home to her girlfriend, Hilda:

Hilda is a very good-looking woman. So is Rebecca. They love each other–an incredibly dangerous and delicate business, as we know. Hilda has long blond hair and is perhaps a shade the more beautiful. Of course Rebecca has a classic and sexual figure which attracts huge admiration from every beholder.

Hilda’s been out for a drink with another woman—just a friend—spiking an argument between the pair that’s not ameliorated by drinking too many busthead cocktails. The resolution is simple and domestic—unusually sweet by Barthelme’s standards. He punctures it with a final note:

The story ends. It was written or several reasons. Nine of them are secrets. The tenth is that one should never cease considering human love, which remains as grisly and golden as ever, no matter what it tattooed upon the warm tympanic page.

34. “At the End of the Mechanical Age” (Amateurs, 1976)

Like“Our Work and Why We Do It,” another story from Amateurs, “At the End of the Mechanical Age” is another riff on Walter Benjamin’s seminal essay “The Work of Art in the Age of Mechanical Reproduction.” Both stories are successful, but “Mechanical Age” is divine—a phantasy-romance that turns the mundane into the heroic. The narrator meets Mrs. Davis, who owns a Mexican restaurant, in a supermarket. The pair takes up with each other, becoming first lovers, and then married partners. Meanwhile, God is in the basement, measuring the electric meter. There’s a flood, but our heroic couple survive it. They sing songs to each other recounting enormous mythical figures to come—giants with the mundane names Ralph and Maude. Like “Rebecca,” this story is a love story, but a melancholy one:

“The mechanical age is drawing to a close,” I said to her.

“Or has already done so,” she replied.

“It was a good age,” I said. “I was comfortable in it, relatively. Probably I will not enjoy the age to come quite so much. I don’t like its look.”

“One must be fair. We don’t know yet what kind of an age the next one will be. Although I feel in my bones that it will be an age inimical to personal well-being and comfort, and that is what I like, personal well-being and comfort.”

“Do you suppose there is something to be done?” I asked her.

“Huddle and cling,” said Mrs. Davis. “We can huddle and cling. It will pall, of course, everything palls, in time…”

Huddle and cling is an elegant, simple, and perhaps sad solution.

In Hiding Man, his Barthelme biography, Tracy Daugherty points out that Barthelme viewed an exhibition at the MoMA in 1968 called “The Machine, as Seen at the End of the Mechanical Age,” which likely influenced the title and content of the story.

 

2020-08-02_185600_1

33. “A Manual for Sons” (The Dead Father, 1975)

“A Manual for Sons” is the second-longest piece in Sixty Stories (after “The Emerald”), and reads like an oddity among oddities. It’s an excerpt from The Dead Father, but feels ancillary to that novel (possibly Barthelme’s best). And yet, like its progenitor novel, “A Manual for Sons” is a big fat webbed up concretization of the oedipal anxieties that course through so much of Barthelme’s work. There’s a section with three “sample” voices of fathers, all stern, cruel even. One of these fathers enlists his son’s aid in building a deck—an echo perhaps of Barthelme’s architect father:

Now run me a line down that form with the pencil. I gave you the pencil. What’d you do with the goddamn pencil? Jesus Christ kid find the pencil. OK go in the house and get me another pencil. Hurry up I can’t stand here holdin’ this all day. Wait a minute here’s the pencil. OK. I got it. Now hold it straight and run me a line down that form. Not that way dummy, on the horizontal. You think we’re buildin’ a barn? That’s right. Good. Now run the line. Good. OK, now go over there and fetch me the square. Square’s the flat one, looks like a L. Like this, look. Good. Thank you. OK now hold that mother up against the form where you made the line. That’s so we get this side of it square, see? OK now hold the board and lemme just put in the stakes. HOLD IT STILL DAMN IT. How you think I can put in the stakes with you wavin’ the damn thing around like that? Hold it still. Check it with the square again. OK, is it square? Now hold it still. Still. OK. That’s got it. How come you’re tremblin’? Nothin’ to it, all you got to do is hold one little bitty piece of one-by-six straight for two minutes and you go into a fit? Now stop that. Stop it. I said stop it. Now just take it easy. You like heppin’ me with the patio, don’tcha? Just think ’bout when it’s finished and we be sittin’ out here with our drinks drinkin’ our drinks and them jackasses ‘cross the street will be havin’ a hemorrhage. From green envy. Flee from the wrath to come, boy, flee from the wrath to come. He he.

The chuckle after the line Flee from the wrath to come is particularly menacing. For the most part though, “A Manual for Sons” balances the seriousness of its subject with humorous absurdity and swelling rhetoric:

Fathers are teachers of the true and not-true, and no father ever knowingly teaches what is not true. In a cloud of unknowing, then, the father proceeds with his instruction. Tough meat should be hammered well between two stones before it is placed on the fire, and should be combed with a hair comb and brushed with a hairbrush before it is placed on the fire. On arriving at night, with thirsty cattle, at a well of doubtful character, one deepens the well first with a rifle barrel, then with a pigsticker, then with a pencil, then with a ramrod, then with an icepick, “bringing the well in” finally with needle and thread. Do not forget to clean your rifle barrel immediately. To find honey, tie a feather or straw to the leg of a bee, throw him into the air, and peer alertly after him as he flies slowly back to the hive.

 

32. “Nothing: A Preliminary Account” (Guilty Pleasures, 1974)

In a 1982 interview, Barthelme described using this story in his writing classes:

Occasionally I’ll read something that has some pedagogic value. For example, there’s a story called “Nothing,” which I also use as an assignment. When somebody is stuck, I’ll say, well, do me a piece that describes “nothing.” Sometimes if I give that to a whole class, when they’re finished reading theirs, I’ll read mine just to show how I dealt with it.

“Nothing” is a list that tries to describe “nothing.” It begins thus:

It’s not the yellow-curtains. Nor curtain rings. Nor is it bran in a bucket, nor bran, nor is it the large, reddish farm animal eating the bran from the bucket, the man who placed the bran in the bucket, his wife, or the raisin-faced banker who’s about to foreclose on the farm. None of these is nothing.

(Rereading the lilt here, I’m reminded of Big Thief’s jam “Not.”)

The list is a mix of absurd fun, a few great punchlines (“Nor is it lobster protected from its natural enemies by its high price”), and a heavy dose of Barthelme’s beloved existentialists:

Heidegger points us toward dread. Having borrowed a cup of dread from Kierkegaard, he spills it, and in the spreading stain he finds (like a tea-leaf reader) Nothing.

Like much of Barthelme’s seventies stuff, “Nothing” is a piece that strives to find meaning in failure:

But if we cannot finish, we can at least begin. If what exists is in each case the totality of the series of appearances which manifests it, then nothing must be characterized in terms of its nonappearances, no-shows, incorrigible tardiness. Nothing is what keeps us waiting (forever).

31. “Eugénie Grandet” (Guilty Pleasures, 1974)

Eugénie Grandet” is the only story included in Sixty Stories that uses literal images—photographs and drawings—incorporating them into a collage distillation of Balzac’s 1833 novel of the same name. The story offers a parodic summary of a 200-page novel in just a few paragraphs, including this notorious one:

Butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter butter butter
butter butter butter butter butter butter butter butter

Here, the conflict between Eugénie and her miserly father over Eugénie’s using too much butter in preparing her cousin’s eclairs is compressed into 78 butters. 

“Eugénie Grandet” isn’t just a parodic summary though. It’s also a send-up of middle-twentieth century values. In Hiding Man, Daugherty spends two whole pages on the story, arguing that it should be read within the context of its composition—namely, after the fall out of May ’68.

Daugherty writes,

In parodying this particular novel in the context of May 1968, [Barthelme] composed a potent political document. It not only touched on the rebellion’s seminal issues, but invoked the reinvigorated Sartre…[the story], firmly attached to modernist history, and appearing, as it did, in a mainstream weekly, tucked among ads for glittering cars, watches, and diamonds, is a remarkable American artifact.”

Ultimately though, “Eugénie Grandet” is a strong enough story that one can appreciate it without any knowledge of Balzac or May ’68.

Summary thoughts:  “The Captured Woman” is apt for misreading and “Rebecca” is a bit of a trifle, but it’s a tender trifle. “At the End of the Mechanical Age” is as good as anything Barthelme ever wrote. “A Manual for Sons” is wonderful, and I guess I’m glad it’s included in Sixty Stories, but it does feel out of place–but maybe that’s just because I’ve read The Dead Father. “Nothing” might make a great starting place for anyone interested in Barthelme.” “Eugénie Grandet” is great stuff.

Going forward (in reverse): The next six stories are all from 1972’s Sadness—including a favorite of mine, “Daumier.”

 

Red Table — Zoey Frank 

Red Table, 2016 by Zoey Frank (b. 1987)