“Existence is grounds for dismissal,” Jim Harrison wrote in an essay called “Food and Mood” originally published in Brick magazine in 2006. “It has only recently occurred to me that I might not be allowed to eat after I die.” If anyone could pull off eating in the afterlife, it would probably be Harrison, well known for all kinds of appetites here on Earth. Adventurous of both palate and mind, he was also a world traveler who loved Montana and Paris equally, he seemingly never said no to a road trip. One of the most memorable has to have been
- print • Apr/May 2017
- print • Apr/May 2017
The main thing that hits you about the hefty IRVING PENN: CENTENNIAL (Metropolitan Museum of Art/Yale University Press, $70) is how, over decades of fastidious work, the photographer managed to create and maintain a minutely controlled approach where diversity dissolves into uniformity. His figures are decked out in veritable uniforms, whether modeling chichi hats and indigenous costumes or posing as “themselves.” Across so many different venues, from Vogue, high-end books, and middlebrow advertising to strikingly decorative ethnography and abstract studies (nudes, obviously, and a whole gorgeously grimy series on, less obviously, cigarette butts), his classicism transformed all the world into
- print • Apr/May 2017
The cover of Sarah Schulman’s new book shows a pretty sunset. Its title hovers in white letters over pink and blue clouds like a benign choir of aircraft. Schulman clearly intends to parachute her book into the debate over how people should respond to and resolve conflict. She is the author of ten novels, many plays (produced and unproduced), and five previous works of nonfiction, including influential, often combative books like The Gentrification of the Mind: Witness to a Lost Imagination (2012), Ties That Bind: Familial Homophobia and Its Consequences (2009), and Israel/Palestine and the Queer International (2012), about queer
- print • Apr/May 2017
When Making It was first published in 1967, it ripped through the airless parlor of American letters like a great belch. The man responsible, the literary critic Norman Podhoretz, sat smirking with relish at the revolting thing he’d just done. At the time, he was the editor of Commentary, the magazine that, along with Partisan Review, had published many of the midcentury writers who came to be known as the New York Intellectuals, so he’d had a private view of their jousting egos and venomous political squabbles. Making It pried all this open. It electrified the previously staid public reputations
- print • Apr/May 2017
I must start with the ending: In a postscript to her collection of highly crafted stories of desire, French novelist and professor Anne Garréta undermines the project she has developed in the preceding chapters. Throughout, she conjures past lovers and those she has wanted—one woman after another, fashioned into words from memory. Then she casts doubt on the entire pursuit. Why write about women who incited desire—even if the desire held a terrifying sway—when we live in the time of the logorrhea of desire? There’s surely nothing transgressive left about it in our age of “pornocracy.” How to write about
- print • Apr/May 2017
In February, Amnesty International published a report on the Saydnaya Military Prison in Syria that made for especially gruesome reading. The headline revelation, that the Syrian authorities killed up to thirteen thousand people in extrajudicial executions at Saydnaya between 2011 and 2015, surprised exactly no one familiar with the structure of the Syrian state or the regime of Bashar al-Assad and its long-standing use of torture. Amnesty estimates that there are now up to twenty thousand detainees in Saydnaya, virtually all of them nonviolent demonstrators who never joined the Free Syrian Army or the Islamic State or any of the
- print • Apr/May 2017
In 1895, two neurophysiologists issued a book-length report on experiments they had been conducting with a group of young women suffering from a cluster of mysterious ailments. In a series of often dramatic case histories, the authors described the revolutionary new technique they had been using with these patients: listening to them. To be sure, the experiments were not double-blind, the publication wasn’t peer-reviewed, and both real and potential conflicts of interest went undisclosed. But the technique showed promise, and one of the report’s authors, Sigmund Freud, would go on to gain a measure of fame.
- print • Apr/May 2017
Children’s picture books are often our first acquaintance with storytelling. In a board book devoted, say, to trucks, what appears to an adult to be a series of discrete images will, for a preverbal child, provide a narrative: Embedded in the facing images of a pickup and a monster truck is likely a tale of growth and diminishment, or maybe simplification and elaboration. Of course, this is a rough surmise; we can’t be sure exactly what’s going on inside the kid’s head. But we can assume a basic human impulse to look for order and imbue it with meaning. In
- print • Apr/May 2017
Kate Zambreno’s first novel, O Fallen Angel, published in 2010 and just reissued by Harper Perennial, takes place somewhere between Middle America and hell, if hell, as Jean-Paul Sartre famously indicated in No Exit, is other people. There certainly seems to be no exit in O Fallen Angel, set in the suburban Midwest in a “Dreamhouse in the country far far away from all the scary city people alright let’s just say it in a whisper the scary (black) people they keep on coming closer and closer we keep on moving farther and farther away.” Mommy, an archetypal suffocating mother,
- print • Apr/May 2017
ONE OF MY MOST MEMORABLE apparitions—the sort cast and staged by a certain ill-tasting mushroom—starred Bullwinkle the moose, who demonstrated his ability to grow his already prominent snout to boa-constrictor length. I can still recall that disturbingly phallic vision nearly forty-five years later. My cartoon grotesque comes to mind as I page through this volume devoted to the hallucinatory drawings of Susan Te Kahurangi King. Born in New Zealand in 1951, King became well known in 2008 when her methodically detailed images began to circulate online. The artist, whose earliest work was done shortly after she stopped speaking at the
- print • Apr/May 2017
The debate about whether women can “have it all” has aged only slightly better than stock photos of women in skirt suits with babies on their hips. Yet the questions at the heart of that worn-out conversation are freshly animated in Ariel Levy’s new memoir, The Rules Do Not Apply. Levy defines “it all” as not simply “a career and a family,” but a woman’s ability to live her life exactly as she wants to. “We want a mate who feels like family and a lover who is exotic, surprising,” she writes. “We want to be youthful adventurers and middle-aged
- print • June/July/Aug 2017
Roxane Gay’s heartfelt new memoir Hunger puts its author’s struggle to write it front and center. The first four chapters start with a variation on “This is the story of my body.” Chapter 2 begins: “The story of my body is not a story of triumph.” Wary of discourses that politicize and often celebrate fat, such as body positivity or queer feminism, Gay presents a sad history of her size. After a horrifying rape at the age of twelve, she became very fat in order to protect herself: “I made myself bigger. I made myself safer. I created a distinct
- print • June/July/Aug 2017
Most adults don’t have much use for physicians under the impression that dispensing the occasional lollipop is vital to keeping the patient cooperative. Even before The Optimistic Leftist: Why the 21st Century Will Be Better Than You Think (St. Martin’s Press, $27) has properly gotten under way, author Ruy Teixeira doesn’t do himself any favors on that score. A dedication whose raised-fist summons to solidarity would have been at home on a 1930s Popular Front banner—“For the broad left and the struggle for a better future”—is followed by this kindergarten postscript: “Oh, and by the way, cheer up!”
- print • June/July/Aug 2017
Protein powder stirred into diet orange soda. Milk pudding with a touch of voodoo mixed in. Thick hunks of gingerbread, boiled bacon with broad beans, “Shrimp Wiggle,” and oceans of champagne. These are just some examples of the food and drink that pop up in Laura Shapiro’s new book, What She Ate: Six Remarkable Women and the Food That Tells Their Stories (Viking, $27). As you might guess, the collection of women responsible for this cornucopia is, to put it mildly, eclectic. This volume is bookended by Dorothy Wordsworth (William’s sister—he was the gingerbread fan) and Helen Gurley Brown, of
- print • June/July/Aug 2017
The keen catalogue CONSTANT: SPACE + COLOUR; FROM COBRA TO NEW BABYLON (NAI010 Publishers, $40) inadvertently bathes the utopian artist Constant Nieuwenhuys (1920–2005) in a surprising light. It assiduously contextualizes his mildly bold, tidily irregular paintings, his three-dimensional wire and unusual-for-their-time Plexiglas constructions, and his visualization of “unitary urbanism” (a total human habitat where “life is a game” that merges “the science fiction of social life and urban planning”). Situationist International cofounder Guy Debord christened Constant’s plans for better-living-through-poetry environments “New Babylon,” though Constant didn’t stick with the Situationists for long. There is an affirmative, even (shh!) utilitarian spirit to
- print • June/July/Aug 2017
A 2015 PHOTOGRAPH of the Obama family’s Passover seder evokes an irrevocably lost world. In it, we see Alma Thomas’s painting Resurrection, 1966, hanging in the White House dining room. This buoyant artwork was the first by an African American woman to be displayed as part of the permanent White House collection. Tastes and regimes change, but Resurrection now enjoys a position of institutional intransigence—if not assured visibility—in this mansion, which was, as the former first lady reminded us, built by slaves.
- print • June/July/Aug 2017
The unusually striking photograph on the cover of Mary V. Dearborn’s new biography Ernest Hemingway shows the writer in his prime in 1933 sitting on the cushioned stern of a boat, possibly his thirty-eight-foot cabin cruiser the Pilar, and aiming a pistol at the camera. He always carried guns on board to shoot sharks or, when bored or annoyed, seabirds and turtles. He was thirty-four when this photo was taken and he had recently discovered Key West and the fabulous Gulf Stream with its gigantic marlin, sailfish, and tarpon. He fished and fished and fished, insatiable. There were the heroic
- print • June/July/Aug 2017
My first experience of Angela Carter was The Sadeian Woman, her 1979 belletristic defense of the Marquis de Sade as a moral pornographer and protofeminist. Titillating, brilliant, and clearly deviant, it was a perverse introduction to an alchemy of postmodern theory and frankness I didn’t know possible. At twenty, I heavily underlined assertions like this one:
- print • June/July/Aug 2017
In 1954, two dozen people, most of them black, gathered in a small storefront church in Indianapolis. The preacher, a tall, black-haired white man, didn’t launch into a sermon; he asked his congregants a question: “What’s bothering you?”
- print • June/July/Aug 2017
They saw dead people. They heard them too. When summoned, dead people rang bells, wrote on slates, levitated tables. Sometimes their faces hovered in the air. The dead made this commotion for their parents, children, siblings, and friends at the behest of gifted individuals capable of readily communing with the world beyond. If the movement associated with this phenomenon, known as spiritualism—which was popular to varying degrees from the mid-nineteenth to the early twentieth century—now appears a quaint relic of a benighted past, we should consider the vigorous currency of aura reading, crystal healing, and psychic consultations. These descendants of


