Search Results for: Los Angeles Review of Books

Etta or Bessie or Dora or Rose

AP Photo / CSA-Printstock, Photo illustration by Katie Kosma

Elisa Albert | How This Night Is Different | May 2018 | 23 minutes (5,706 words)

October 2004

Dear Philip,

You must be aware of the intimidation factor inherent in anyone’s writing to you, but I wonder if maybe the paradigm is similar to what happens when a stunning woman walks into a room: no one approaches her, she’s simply too beautiful; everyone assumes they have no shot. Maybe you don’t get many letters. Maybe you haven’t received a truly balls-out, bare-assed communiqué since 1959.

You once signed a book for me. That’s the extent of our connection thus far, but it’s something, isn’t it? The book was The Counterlife, but I had yet to read it when I presented it to you for signature. You were unsure of the spelling of my name, and so there’s an endearing awkwardness, a lack of flow, to the inscription. For E, you wrote, and the pen held still too long on the page, leaving a mark at the point of the lowest horizontal’s completion while you waited for me to continue spelling. L, you continued on, and then, again, a spot of bleeding, hesitant ink before the i and the s and the a, which proceed as they should before your slanted, rote, wonderful autograph. I remember being all too aware of the impatient line behind me, people clutching their copies of Portnoy’s Complaint, Goodbye, Columbus, The Human Stain, the odd Zuckerman Unbound. I tried to meet your eye, I tried to communicate something meaningful. The others, of course, didn’t get it. I wanted you to know: I got it. Later, when I found my way to reading the book, I actually purchased a whole new copy so I wouldn’t sully my signed paperback. I cherish our moment of eye contact, your pen hovering over the title page, my name circulating in that colossal mind of yours.

But wait. This is no mere fan letter; no mere exercise in soft-core intellectual erotica constructed for your amusement. I have an objective. How old are you now, Philip? Early seventies, is it? You are, of course, notoriously private. I have the books, sure, like everyone else. And the reviews of the books, each of which mentions the notorious privacy. And there’s the Claire Bloom debacle, which I hesitate even to mention, given its complete disrespect of the notorious privacy (though you might be happy to know that I couldn’t find “Leaving A Doll’s House” in any of the four sizable bookstores I checked and had to finally order it on Amazon). And The Facts, which I made a point of reading after the Claire Bloom, for balance. A graduate school friend of mine was your research assistant for a few years while we pursued our MFAs and it took her almost a year of post-workshop drinking to slyly confess, to a rapt audience of salivating young writers, her association to you. (Otherwise you’ll be happy to know she was loyal; she professed total ignorance of your life, your private matters, even your address. She seemed, in retrospect, somewhat terrified of you. I half-seriously offered her boyfriend a blow job if he’d get me your address. The table of young writers giggled madly and took big sips of beer.)

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When the Movies Went West

A man looking into a Kinetoscope. (Photo: Getty)

Gary Krist | Excerpt adapted from The Mirage Factory: Illusion, Imagination, and the Invention of Los Angeles | Crown | May 2018 | 14 minutes (3,681 words)

Toward the end of 1907, two men showed up in Los Angeles with some strange luggage in tow. Their names were Francis Boggs and Thomas Persons, and together they constituted an entire traveling film crew from the Selig Polyscope Company of Chicago, one of the first motion picture studios in the country. Boggs, the director, and Persons, the cameraman, had come to finish work on a movie — an adaptation of the Dumas classic The Count of Monte Cristo — and were looking for outdoor locations to shoot a few key scenes. As it happened, the harsh midwestern winter had set in too early that year for them to complete the film’s exteriors in Illinois, so they had got permission to take their camera and other equipment west to southern California, where the winters were mild and pleasant. Since money was tight in the barely nascent business of moviemaking, the film’s cast could not come along. So Boggs intended to hire local talent to play the characters originated by actors in Chicago. Motion pictures were still such a new and makeshift medium that audiences, he figured, would never notice the difference.

In downtown Los Angeles, they found a handsome if somewhat disheveled young man — a sometime actor who supplemented his income by selling fake jewelry on Main Street — and took him to a beach outside the city. Here they filmed the famous scene of Edmond Dantès emerging from the waves after his escape from the island prison of the Château d’If. Boggs had a few technical problems to deal with during the shoot. For one, the jewelry hawker’s false beard had a tendency to wash off in the Pacific surf, requiring expensive retakes. But eventually the director and Persons got what they needed. After finishing a few more scenes at various locations up and down the coast, they wrapped up work, shipped the film back to Chicago to be developed and edited, and then left town. Read more…

The Dying Days of the New West

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Tori Telfer | Longreads | May 2018 | 15 minutes (3,912 words)

The American West brings out a hunger in people. I’ve felt it myself — an urge to disconnect from society, buy a horse, live next to a giant saguaro. My husband and I have talked for hours about moving to the town of Truth or Consequences in New Mexico, where we were invited to live by an elderly gay couple we met beside a Tucson, Arizona pool. They told us that houses were cheap and everyone was friends and they’d be our uncles; we took their business card home and spent nights looking at houses on Zillow, cooing over cacti. The destiny was almost made manifest, then real life intruded. Guess where we’re moving instead? New York City.

The urbane, European-inflected East Coast has looked at the West with a strange blend of envy and hope for most of United States history. While the United States was built partially on the idea that the West was our manifest destiny, an East/West rivalry has also been baked into our identity from the beginning; even the famous “Go west, young man!” dictum contained within it some eastward scorn. That cry came from an 1865 New York Times editorial, in which Horace Greeley, the newspaper’s editor, exclaimed that “Washington is not a place to live in. The rents are high, the food is bad, the dust is disgusting and the morals are deplorable. Go West, young man, go West and grow up with the country.”

In 1836, the writer Francis Grund speculated that westward expansion would only stop when some “physical barrier must finally obstruct its progress”; by the late 1800s, the ocean proved to be no such barrier, as America’s westward colonization encroached on the islands of the Pacific, reaching as far as the Philippines; in 2018, there is so little West left to discover that when we want to dream about the idea of the “frontier,” we look to Mars. Today’s West is a place of deep irony: lands that look wide-open to the naked eye but are actually choked by bureaucratic red tape. In fact, “the West” is more of a mirage than a reality, these days. But the hunger is still there. Read more…

Of Breakdowns and Breakthroughs

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Jenny Aurthur | Longreads | May 2018 | 28 minutes (6,886 words)

 

On the Monday before Thanksgiving in 2004, my father went missing. I was at the Santa Monica apartment I’d been subletting to a friend while working for three months in New York City, getting ready for bed when my phone rang. It was my mother, wondering if I’d spoken to him. I had not seen or heard from my dad since he’d picked me up from the JetBlue terminal at the Long Beach Airport three days earlier. I was 30 and had returned home to L.A. from New York to spend the holiday with my family.

I’d never missed Turkey Day with my folks. Nothing about my childhood had been typical. I was raised by atheist, socialist activists who called me “Jenny Marx,” never just Jenny, after Karl Marx’s wife. They skipped religious holidays, but observed Thanksgiving, well, religiously.

Fort Green, 1974

Thanksgiving had solidified into a legendary event among our friends, and most years we had a full house. It wasn’t unusual for so many people to show up that some had to sit cross-legged on the floor, leaning against the living room wall. The food was so good, and the company even better, that no one minded not having a seat at the table. My father cooked for an army, and there was never a shortage of food. Our parties were lively and conversations were raucous, everyone talking over one another. We were an opinionated bunch. Current events were passionately discussed, and my parents were walking encyclopedias. Topics ranged from global warming to recent movies to the upcoming local and presidential elections. The musical selections were just as diverse as the crowd, from Dixieland jazz to gospel to classical to Dylan.

Everyone got quiet when the food was ready. We passed around two kinds of homemade stuffing — one for vegetarians and one with Italian sausage. Huge bowls of steaming sweet potatoes, buttery green beans, thick slices of light and dark meat my father carved from the 20-pound bird, fresh cranberry sauce with tart orange zest, loaves of freshly baked sourdough bread, green salad, and a ceramic pitcher of hot gravy barely fit on our dining room table.

***

I started having friends come over for the holiday when I was in junior high. My mother, Elinor, and my father, Jonathan, were popular with my classmates and considered the “cool parents.” During the years I was in school and well into my twenties, our house was the place to be. After Thanksgiving dinners with their own families, droves of my old pals showed up to our house. Everyone loved being around my parents. When I was in high school, one of my best friends, Leisa, was having trouble at home, and my mom took her in. Another friend, Ania, also lived with us a couple of years later.

“I wish Elinor and Jonathan were my parents,” my girlfriends would often say.

This year, though, Thanksgiving would be different. I’d been living in New York since the late summer. Preoccupied with my work, I put the holidays on the back burner. My parents and I had decided to keep it mellow for once. Eight years after my younger brother’s suicide, for the first time, it would just be the three of us.

***

Historically the kitchen was my father’s territory, and when I was growing up, my mother, my brother, Charley, and I were careful to stay out of his way. He loved being the king of his castle, but he pretended not to enjoy it. “I’ve been burning my ass over a hot stove for the last three days for you ingrates,” he complained, acting annoyed, wiping sweat from his forehead. He loved this yearly charade, and we went along with it, rolling our eyes and laughing.

The aromas coming from the forbidden room made our mouths water and stomachs growl impatiently. Under the pretense of being helpful, my mom, my brother, and I would wander into the kitchen and lurk over the stove and poke around. We were shooed out immediately. “Everyone out of the kitchen,” my dad said with mock exasperation. The table had been set for hours; that was my job. I pulled out and polished the prized Tiffany family silver that had belonged to my grandparents, for its once-a-year appearance. My mother was responsible for buying lilies and dahlias. She also designed beautiful Japanese-style flower arrangements that she’d made in her ikebana class. Charley was in charge of dusting and vacuuming. We liked a late dinner and by the time we ate at 8:00, we were famished.

“Now can I sit down?” my dad asked, drawing out the “now,” acting like an indentured servant finally getting a break. Collapsing into his chair with a dramatic sigh, he surveyed the bounty of food, enough for Henry VIII’s court. “Well,” he said, “if we don’t have enough we can always order pizza.”
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Finding the Soundtrack to My Desert Life

Photo courtesy the author, notes via Shutterstock

Aaron Gilbreath | Longreads | April 2018 | 30 minutes (7,571 words)

After I transferred from the university in Phoenix in late 1995, I kept myself in motion so compulsively that I barely got to know my new town. I biked to class. I hiked after class. I ditched class to hike during the week and drove all over Arizona’s rugged southeastern corner to hike the whole weekend. Half a year passed during which I spent as little time in my sad, lonely apartment as possible. I didn’t know anybody in Tucson, and I didn’t want to — not yet. My previous friendships had only helped me turn myself into a pothead. And yet I couldn’t stand to be alone and sit still either. Struggling with my isolation and anxiety about life, I tried to work through my twitchy misdirection in the border region’s dry mountain forests and lowland deserts, taking advantage of the long highways that gave me time for silent contemplation at 75 miles per hour.

Madera Canyon in the Santa Rita Mountains, Sycamore Canyon in the Pajarito Mountains — in those first Tucson months, I saw more of this rugged landscape than many University of Arizona students did in four years of college, yet I never really saw my new city for what it was, because I didn’t take the time. I only saw the land around it.

***

I was restless at age 20, lost, searching for something beyond my reach and always beyond my understanding, some cosmic insight and career path that Mother Nature’s vast deserts seemed capable of offering in a way cities could not. I’d smoked too much weed during the previous three years, and I was trying to quit in order to find my calling. Sitting still meant dealing with temptation; hiking kept me on track. I read a lot of ecology and nature books back then, and what compounded my avoidance was my belief that the wilderness held the answers to all of humanity’s questions — from the meaning of life to cures for cancer to an objective sense of right and wrong. I still believe in wild nature, but in my young, confused Thoreauvian worldview, urban areas were cancerous “man-made” places to escape, not savor, so I fled Tucson every chance I got, just as I had fled Phoenix the year before.

Phoenix was bland. It had a Taco Bell personality. Tucson had a singular, authentically Sonoran Desert character that evolved from its origin as a military outpost in Spain’s old northern territory, then developed in the isolation resulting from Phoenicians’ dismissal of the city as a backwater. People nicknamed it the Old Pueblo. Even before I moved there, I could see the Old Pueblo’s superiority. Prickly pear cactus grew as tall as trees. Roadrunners climbed ornamental palo verdes in the middle of town, and the lonely howl of passing trains rang throughout the night. Many streets had no sidewalks, just as many houses had no lawns. The plaster on old buildings peeled to reveal straw in the adobe bricks underneath. It was as if the city was letting you see who it really was.

Phoenix looked as engineered as Las Vegas, or worse, like bad cosmetic surgery. Central Tucson looked like an extension of the desert, natural and spacious and endearingly shaggy. I could see this when I arrived, but my philosophical views let me rationalize my unwillingness to really appreciate it; it was a city, natural-looking or not. Only when I discovered The Shadow of Your Smile, an album by a band called Friends of Dean Martinez did I finally quit running long enough to find something to value about urban Arizona, besides Mexican food and live music. I’d learned to use cities as basecamps for outdoor excursions. This instrumental steel guitar band helped me stay put, because its cinematic cowboy lounge music matched the personality of this Spanish colonial city. When I started looking at its beauty as equal to that of wildlands, I not only started feeling at home in my city, but also in my own body, and I found my sense of direction.
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The Ladies Who Were Famous for Wanting to Be Left Alone

Sarah Ponsonby and Lady Eleanor Butler In Their Library, engraving by Richard James Lane (Creative Commons)

 

Patricia Hampl | Excerpt adapted from The Art of the Wasted Day | Viking | April 2018 | 18 minutes (4,735 words)

 

On the night of Monday, March 30, 1778, an Anglo-Irish lady named Sarah Ponsonby, age twenty-three, the unmarried dependent of well-placed relatives (her parents long dead), slipped out of her guardians’ Georgian mansion in Woodstock, Kilkenny, the rest of the house asleep. She was dressed in men’s clothing, had a pistol on her, and carried her little dog, Frisk.

She made her way to the estate’s barn where Lady Eleanor Butler, a spinster sixteen years her senior, a member of one of the beleaguered old Catholic dynasties of Ireland (the Dukes — later the Earls — of Ormonde), was awaiting her, having decamped from stony Butler Castle twelve miles distant on a borrowed horse. She too was wearing men’s breeches and a topcoat.

Their plan, long schemed, was to ride through the night, the moon a bare sliver, to Waterford, twenty-three miles away on the coast, and from there to embark for England to live together somewhere (they had no exact destination) in “delicious seclusion.” Their goal was “Retirement,” a life of “Sentiment” and “Tenderness.”
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Sharp Women Writers: An Interview With Michelle Dean

Photo illustration by Katie Kosma

Natalie Daher | Longreads | April 2018 | 15 minutes (4,014 words)

The subjects of cultural critic Michelle Dean’s new book Sharp: The Women Who Made an Art of Having an Opinion — including Dorothy Parker, Janet Malcolm, Joan Didion and Nora Ephron — have appeared in Dean’s writing and interviews again and again over the years. It’s not difficult to see how Dean would develop a fascination with opinionated women — she is one herself. Lawyer-turned-crime reporter, literary critic, and Gawker alumnus, Michelle Dean’s has had her own “sharp” opinions on topics ranging from fashion to politics, from #MeToo to the Amityville Horror.

The book is more than just a series of biographical sketches. Dean is fascinated by the connections between these literary women — their real-life relationships, their debates, and the ways they were pitted against each other in a male-dominated field.

We spoke by phone between New York and Los Angeles and discussed writing about famous writers, the media, editors, and feminism.
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“We All Had the Same Acid Flashback at the Same Time”: The New American Cuisine

Getty / 123RF images, Composite by Katie Kosma

Andrew Friedman | Excerpt adapted from Chefs, Drugs, and Rock & Roll: How Food Lovers, Free Spirits, Misfits and Wanderers Created a New American Profession | Ecco | February 2018 | 17 minutes (4,560 words)

* * *

He spent his last pennies on brown rice and vegetables, cooking them for strangers who shuttled him around. Just in time, people started feeding him.

You could begin this story in any number of places, so why not in the back of a dinged-up VW van parked on a Moroccan camping beach, a commune of tents and makeshift domiciles? It’s Christmas 1972. Inside the van is Bruce Marder, an American college dropout. He’s a Los Angelino, a hippy, and he looks the part: Vagabonding for six months has left him scrawny and dead broke. His jeans are stitched together, hanging on for dear life. Oh, and this being Christmas, somebody has gifted him some LSD, and he’s tripping.

The van belongs to a couple — French woman, Dutch man — who have taken him in. It boasts a curious feature: a built-in kitchen. It’s not much, just a set of burners and a drawer stocked with mustard and cornichons. But they make magic there. The couple has adventured as far as India, amassing recipes instead of Polaroids, sharing memories with new friends through food. To Marder, raised in the Eisenhower era on processed, industrialized grub, each dish is a revelation. When the lid comes off a tagine, he inhales the steam redolent of an exotic and unfamiliar herb: cilantro. The same with curry, also unknown to him before the van.

Like a lot of his contemporaries, Marder fled the United States. “People wanted to get away,” he says. Away from the Vietnam War. Away from home and the divorce epidemic. The greater world beckoned, the kaleidoscopic, tambourine-backed utopia promised by invading British rockers and spiritual sideshows like the Maharishi. The price of admission was cheap: For a few hundred bucks on a no-frills carrier such as Icelandic Airlines — nicknamed “the Hippie Airline” and “Hippie Express” — you could be strolling Piccadilly Circus or the Champs-Élysées, your life stuffed into a backpack, your Eurail Pass a ticket to ride.

Marder flew to London alone, with $800 and a leather jacket to his name, and improvised, crashing in parks and on any friendly sofa and — if he couldn’t score any of that — splurging on a hostel. He let himself go, smoking ungodly amounts of pot, growing his hair out to shoulder length. In crowds, he sensed kindred spirits, young creatures of the road, mostly from Spain and Finland. Few Americans.

Food, unexpectedly, dominated life overseas. Delicious, simple food that awakened his senses and imagination. Amsterdam brought him his first french fries with mayonnaise: an epiphany. The souks (markets) of Marrakech, with their food stalls and communal seating, haunt him. Within five months, he landed on that camping beach, in Agadir, still a wasteland after an earthquake twelve years prior. He lived on his wits: Back home, he’d become fluent in hippy cuisine; now he spent his last pennies on brown rice and vegetables, cooking them for strangers who shuttled him around. Just in time, people started feeding him, like the couple in whose van he was nesting. Food was as much a part of life on the beach as volleyball and marijuana. People cooked for each other, spinning the yarns behind the meals — where they’d picked them up and what they meant in their native habitats. Some campers developed specializations, like the tent that baked cakes over an open burner. Often meals were improvised: You’d go to town, buy a pail, fill it with a chicken, maybe some yogurt, or some vegetables and spices, and figure out what to do with it when you got back.

Marder might as well have been on another planet. “This was so un-American at that time,” he says.
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A Tale of Two Vegases

View of the strip in Las Vegas. (Kobby Dagan/VWPics via AP Images)

Gayle Brandeis | Longreads | February 2018 | 12 minutes (3,027 words)

 

The Best of Times — March, 2007

The night before I was slated to fly to Atlanta to attend the biggest writing conference of the year, I was sideswiped by one of my vomiting episodes. These hit every few months — hours of intense abdominal pain that came and went like labor, followed by hours of vomiting that often led to a trip to the emergency room; this had been going on for the past 12 years, with no diagnosis. I didn’t want to miss the trip, but I was writhing around on the floor, and heaving into a large mixing bowl, and attempting to keep the anti-nausea suppositories up my ass long enough for them to kick in. I was chanting, “Help me, help me, help me” — words that always burbled from my mouth during these episodes. I wasn’t sure who this chant was aimed at — not my husband, who tended to shy away whenever the vomiting began — but my mom seemed to hear me in Oceanside, 100 miles from my home in Riverside, California. She called and was alarmed when I told her I still hoped to get on the plane the next morning.

“I’m coming with you,” she announced. Before I had the sense to stop her, she purchased a last-minute ticket for my flight. She picked me up in her red Intrepid shortly after sunrise, and I wondered what in the world I had gotten myself into. I pretended to sleep most of the flight.

My mom and I ended up having a surprisingly good time in Atlanta — we danced together, attended illuminating panels, had a blast with her cousin who lived in the area, ate copious amounts of boiled peanuts; she even made meaningful eye contact with Walter Mosley, who she was certain would one day become my stepfather. When our flight was delayed, she was miraculously relaxed and chatty, and I didn’t feel the need to pretend to sleep on the plane to avoid her. I was plenty sleepy by the time we arrived at the Las Vegas airport, though — it was 1 a.m., and we had missed our connecting flight. The airline gave us the option of staying in the airport and flying home in a few hours, or taking a hotel room and flying home late the next day.

I was so tired, I needed to rest my head on the ticket counter, but I looked up at her and said “Why don’t we stay? Maybe we could see a show or something.” It was the first time I could remember voluntarily extending a visit with her. Our relationship had always been complicated, but when she started to show signs of a delusional disorder 14 years earlier, our connection became all the more fraught.

“Let’s do it,” she said, and soon we were giggling in a free cab on our way to a free hotel room just off the strip. Our luggage was still on the plane, so we slipped into the plush white robes hanging in the closet and crashed for a few hours. We put our rumpled travel clothes back on after our showers, then ordered egg white and asparagus omelets with our free breakfast vouchers and set out to see how much Vegas we could pack into a day.

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Is 2018 the Year We Step Away From Social Media?

(Getty Images)

I checked Twitter and Tumblr before I started writing this piece, and I’ll probably check them again as soon as I’ve finished. I keep telling myself that I should stop automatically turning to social media, and I’ve taken steps to reduce the amount of time I spend on the sites — I regularly cull my feeds, for example, and I’ve removed all push notifications from my phone — but the urge to take a break from my own thoughts and see what other people are thinking about is too strong. (Are my friends posting Google Arts & Culture selfies? Is everyone discussing a specific article? Did Lin-Manuel Miranda tweet something inspiring that’ll make me feel a little better about the world?)

Plus I like to keep up with the news.

But I don’t necessarily enjoy the time I spend on social media, and I doubt you do either. I used to compare it to hanging out in a library with friends — the sort of thing where you’d look up from whatever you were studying and say “hey, check this out!” — and now it feels like stepping into a room where everyone is shouting at each other. Even when the arguments are important, they still feel unproductive and unhealthy. To quote M. C. Mah, at LitHub: “Good-faith argument on social media is probably impractical, and definitely unclickable.”

So I want to spend less time on social media in 2018 — and I’m not alone. Read more…