Olivia Zheng

Thanksgiving in Southern Illinois

shed

My sister lives in southern Illinois in a town of about 15,000 people called Mt. Vernon, a small town surrounded by acres of empty fields, harvested and shaved bare for the winter. In the villages on either side of the town, mini oil drills bob up and down in the front lawns of small houses and most of the bars have posters tacked to their doors that say “Hunters Welcome” in safety-vest orange. Mt. Vernon itself, though, sits at the intersection of highway 64 and highway 57, and the scenery is often what you’d expect to find at any other small-town stop on a road trip across the middle of the country: hotels, gas stations, fast food, two Mexican restaurants, a Kroger grocery store with a solemn pledge of good service stenciled on the glass window above the shopping carts.  

Thanksgiving in Southern Illinois
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Review: Emblems of the Passing World: Poems After Photographs by August Sander

Book by ADAM KIRSCH
Reviewed by LAURA MARRIS

Emblems of the Passing World

Stoic faces, stiff poses, graceful envelope rhyme—this book is built on the difference between a caption and a title, between identifying an image and re-animating it. As Adam Kirsch writes in his introduction to Emblems of the Passing World, August Sander’s photographs reveal “what is ordinarily hidden from us—the way we ourselves appear, and will appear to posterity, as types, when we stubbornly insist on experiencing ourselves as individuals.”

The poems that follow are based on photographs of citizens from Germany’s Weimar Republic, a period of political upheaval between the first and second World Wars. Despite severe economic inequality during these years, many of Germany’s most famous artists and writers flourished, including August Sander, a photographer with the ambition of documenting people from all walks of life. Rather than using names, the portraits identify their sitters by social class or occupation, and the poems use their captions as titles. Kirsch, who is both critical and admiring of Sander, carves these subjects from the geological strata of their history and attempts to give them back a semblance of individuality.

Review: Emblems of the Passing World: Poems After Photographs by August Sander
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On Display

In the cabinet in the atrium outside my office is a glass display case that holds, among other things, a beautiful kidney shaped vessel, its patina smoothed by use. Label: “Brass Pus Basin.” It is an object to stand and stare down at for a while, intentionally or idly, to move on from and return to, to see in passing. Nearby, as part of an exhibit on bloodletting and cupping, are 18th- and 19th-century thumb lancets with their sharp little blades and tortoiseshell and mother-of-pearl handles. In the next case over, a collection of 40 or so calculi (“bladder stones”) of varied size and shape, all disturbingly large. This is the Warren Anatomical Museum, at Harvard Medical School’s Countway Library, where “the dead teach the living.”

On Display
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Trailer Days

The town was segregated, not by laws but by economics. The lines were almost too stark. The northeast side of town was the “black side of town” while the southwest side of town, the farthest away from northeast, was the well-to-do, upper-middle-class “nice neighborhood.” The truly well off lived outside city limits in large homes built along cul-de-sacs in the middle of hardwood forests. I lived in the giant trailer park north of town, just across the railroad tracks from the NE housing projects.

It had nearly 400 trailers, a hamlet of tin cans. The trailers were singlewides, mostly from the 60s and 70s, and placed close together with small patches of grass between. They were set on concrete pads and anchored with “tornado straps,” metal bands bolted into the ground. It was a cheap place to live. A guy I worked with at Domino’s Pizza had lived there and sold his trailer to me and my friend Jon for $2,000. Lot rent was $100 a month, including water and trash.

Trailer Days
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Period Rooms

 By JULIA LICHTBLAU

 

dining room

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It was a long, elaborate, symmetrical Adam room, with two bays of windows opening into Green Park. The light, streaming in from the west on the afternoon when I began to paint there, was fresh green from the young trees outside.

Brideshead Revisited by Evelyn Waugh

 

The serene, neoclassical “Dining Room from Lansdowne House,” designed by Robert Adam in New York’s Metropolitan Museum of Art eerily matches Evelyn Waugh’s description down to the green light and the house’s fate: two wings demolished in 1930 to make way for a road, and the rest converted to an eating club in London’s Berkeley Square. In Brideshead Revisited, contractors are about to pull down Marchmain House and replace it with a block of flats. The Landsdowne Dining Room, in its symmetry and restraint, exudes confidence in the rightness and durability of inherited privilege.

Period Rooms
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Friday Reads: December 2015

By AURELIA WILLS, ALI ROHDE, SCOTT GEIGER, DWYER MURPHY, JEN JABAILY-BLACKBURN

Join our recommenders this month for a little formal experimentation—a collection of works that suck you in with lists, collages, instructions. Here we have a “novel of voices”; a “pointillist portrayal” of a family through vignettes; a work of ekphrastic metafiction; a “madcap” novel that begins with a catalog of ailments and their cures; a book of assurances and instructions to a reader on the cusp of a momentous change. These are books that will break you down into your component parts, rearrange you, and put you back together.

Recommended:

Voices from Chernobyl by Svetlana Alexievich, Mrs. Bridge by Evan Connell, 10:04 by Ben Lerner, The Dream of My Return by Horacio Castellanos Moya, Making Babies: Stumbling Into Motherhood by Anne Enright

Friday Reads: December 2015
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Ivory Teeth

lake

My mother is driving us away from Spokane International Airport when she tells me about the elk. Before dawn, she warmed her Ford Ranger and headed into town, planning to catch up on some work before I arrived from Baltimore. At one moment there was no elk. And the next: elk. A world of elk and the metallic rip of something under the hood, the sort of sound I fear on the long flights home. That undeniable knowledge that something has gone horribly wrong.

Ivory Teeth
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Review: Beyond Katrina

Book by NATASHA TRETHEWAY
Reviewed by JAMES DICKSON

Beyond KatrinaI was reading my five-year-old son a story about dragons, when he threw me an unexpected question: “Dad? Was Katrina some kind of monster? Robbie’s big brother was talking about her at school. He said Katrina smashed his grandparents’ house a long time ago.”

For most of us living close to the Gulf of Mexico, Hurricane Katrina, which struck on August 29, 2005, was a monster of nearly mythical proportions, and for my son who was born five years later, the carnage Katrina inflicted seems beyond reality, the work of cartoon meanies with raspy voices and serrated teeth. Yet she was entirely real, and the destruction she wrought created millions of individual stories that make up the larger story of our nation’s weird relationship with Katrina. 

Review: Beyond Katrina
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After a Year in Baltimore

By MARIAN CROTTY

 Howard Street

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I keep wondering what is strange and what is merely unfamiliar—what is truly inexplicable and what I simply don’t yet understand. For instance, for months, airships from the Aberdeen Proving Ground have floated on the edge of the skyline—two fish-shaped blimps invisibly tethered to the ground, wobbling the way a balloon would travel if it were tied to a post and caught up in the wind. They belong to a military surveillance project being developed by Raytheon to scan the Eastern Seaboard for cruise missiles. For months, I told almost everyone I met about the airships, trying to shock someone, but they almost always shrugged. “I saw those,” they said. “I thought they were weather balloons.”

After a Year in Baltimore
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Review: Target in the Night

Target in the Night

The year is 1972. Tony Durán, a Puerto Rican-born adventurer and professional gambler from New Jersey, is found dead in his hotel room soon after arriving in a small town in Buenos Aires Province with a leather bag full of dollars. Dark-skinned, he spoke Spanish with a Caribbean accent. Rumors of his ménage à trois with Ada and Sofía Belladona, twin daughters of a prominent local landowner, have scandalized the town. Inspector Croce investigates.

So begins Argentine writer Ricardo Piglia’s fourth novel, Target in the Night, as detective fiction. Who killed Tony Durán and why? A gambling plot, the love triangle? Could one of the Belladona sisters have soured on the tripartite arrangement? My next guess: Racism? Durán is “a mulatto who shows up in a place where the last black people had disappeared—or dispersed until they blended completely into the landscape—fifty years earlier.”

Review: Target in the Night
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