The profile is by Julian Lucas, who does an excellent job covering both Reed’s extensive literary output as well as his biography. While Lucas’s profile is generally sympathetic, he doesn’t shy away from Reed’s many (many) battles (Lin-Manuel Miranda, Alice Walker, Ralph Ellison, the New York literary establishment, etc. etc. etc.). The print edition of the article is titled “I Ain’t Been Mean Enough,” which comes from a line from Reed’s 1973 poem “The Author Reflects on His 35th Birthday”:
For half a century, he’s been American literature’s most fearless satirist, waging a cultural forever war against the media that spans a dozen novels, nine plays and essay collections, and hundreds of poems, one of which, written in anticipation of his thirty-fifth birthday, is a prayer to stay petty: “35? I ain’t been mean enough . . . Make me Tennessee mean . . . Miles Davis mean . . . Pawnbroker mean,” he writes. “Mean as the town Bessie sings about / ‘Where all the birds sing bass.’ ”
Lucas’s Reed is not a cantankerous caricature though. We get a nice survey of the man’s works situated against his ever-evolving politics and aesthetics. Nor does the profile dwell too long on Reed’s earlier novels (which I confess are my favorites—the most recent long work of Reed’s I’ve read was 2011’s Juice! I had absolutely no idea before reading the profile that Reed has a new novel out this summer, The Terrible Fours).
There’s a measure of defiance to his late-career productivity. Wary of being tethered to his great novels of the nineteen-seventies, Reed is spoiling for a comeback, and a younger generation receptive to his guerrilla media criticism may be along for the ride. “I’m getting called a curmudgeon or a fading anachronism, so I’m going back to my original literature,” Reed told me. “In the projects, we had access to a library, and I’d go get books by the Brothers Grimm.” Now, he says, “I’m reverting to my second childhood. I’m writing fairy tales.”
From the profile, details of a visit to Vollmann’s studio:
Half of Vollmann’s studio felt like a proper gallery, with finished pieces handsomely framed and displayed. The other half was split into what looked like a used bookstore on one side and a struggling industrial arts business on the other. I imagined Vollmann had a gallery somewhere that showed his stuff, yes? Actually, no. “I’ve had a couple of photographer friends who have shows,” Vollmann said. “Every time, they always end up impoverished.” He employs “a couple dealers” who sell his work to various institutions, but he considers his studio a “perpetual gallery.” Vollmann gets additional income from Ohio State, which has been buying Vollmann’s work and manuscripts for several years. Vollmann has no idea why Ohio State has shown such interest in his work, but he’s grateful to the institution, which has been paying the mortgage on his studio for the last decade.
He began our tour proper while a dinging train from the city’s light-rail line rumbled by, just feet from his curtained windows. Woodcuts, watercolors, ink sketches, silver-gelatin black-and-white photographs, portraits. “Gum-printing is a nineteenth-century technique,” he told me. “It’s the most permanent coloring process. But it’s slow, and toxic. … I also have this device here, which is based in dental technology. … It’s like a non-vibrating, very high-speed Dremel tool. … This was originally drawn with pen and ink, and then I had a magnesium block made with a photo resist.” Some of the pieces he showed me were complete; most were not. He estimated that he has “dozens and dozens” of pieces going at any one time.
Vollmann’s most important artistic influences are Gauguin and what he described as the “power colors” of Native American art. His other inescapable influence is the female body. The majority of Vollmann’s visual art centers upon women generally and geishas, sex workers, and those he calls “goddesses” specifically. Usually they are nude. From where I was standing I counted at least two dozen vaginas, their fleshy machinery painstakingly drawn and then painted over with a delicate red slash. Vollmann uses live models, so every vagina within sight is currently out there right now, wandering the world.
The Guardian profiles Don DeLillo. The profile is pretty silly, referring to DeLillo as an “All-American writer,” and mistakenly referring to his 2007 novel Falling Man as The Falling Man (this reminds me of the way that grandparents love to add a definite article to pretty much anything, e.g. “I have to go to the Wal-Marts”). Here it is —
After Underworld, an 800-page tour de force, DeLillo’s career turned towards the miniature: The Body Artist (2001), Cosmopolis (2003), The Falling Man (2007) are much slighter books, a rallentando that suggests a writer moving inexorably into the minor key of old age. Not that you’d find this in the demeanour of DeLillo.
The writer makes up for the error by using the word “rallentando,” of course.
Today’s New York Times profiles one our favorite bizarros, China Miéville. Read the article here. Topics include embarrassing apocalypses, Star Trek, and his new book Kraken. From the article:
Mr. Miéville says what attracts him to the genre, as a reader and a writer, is the importance of the imagination — “that sense of the world blown apart, that sense of a crack in reality, that visionary sense, that ecstatic sense,” as he described it.
“At a certain stage some people end up not trusting their own imagination,” Mr. Miéville said. “You get this kind of baleful set of voices in your head that tell you, ‘That’s silly; you’re being silly.’
“But I think most people have more ideas in their heads than they think they do. It’s just that those of us in the fantastic fields — either we don’t listen to our own filters, or we have a much higher ridiculousness threshold.”