As Clancy Martin reminds us in Love and Lies, lying is unavoidable. Social cohesion depends on the massaging, the evading, the eliding of facts. Never to lie is as inadvisable as it is impossible, especially in love, where you most need to dissimulate, or at least to discriminate. Appropriately deploying certain falsehoods is as important as avoiding them, not least when it comes to those you tell yourself.
Joan Baez once observed of Bob Dylan’s music that it either left you indifferent or went “way, way deep.” A similar claim, on a far lesser scale of renown, could be made for Nick Drake, the English singer-songwriter who produced three exquisite but largely unnoticed albums between 1969 and
The French writer Emmanuel Carrère wrote several novels before finding his home in the more ambiguous genre of novelistic nonfiction. His work often explores the perils of self-invention and the fraught relationship between fact and fiction.
Not unlike an advice manual about being a woman for twelve-year-old girls, Not That Kind of Girl is organized as an investigation into "feminine life." Lena Dunham has embraced this memoir—a little too fervently—as an opportunity to put a bow on her past debaucheries. She promises a better life on the other side, after you too put yourself in "jerk recovery."
How, and to what extent, clothing matters is the question at the heart of this book, which began in 2012, when Sheila Heti asked Heidi Julavits's advice, for a "little piece about women's fashion." She wanted to know whether Julavits had any "dressing or clothing rules," or a philosophy of clothes; Heti was trying, she writes, "to figure out how to dress."
In Story/Time, a collection of performance texts and lectures, the renowned choreographer Bill T. Jones describes a 1972 encounter with John Cage in tones of awe. More than the music itself, what impressed the young drama student was Cage's air of "sophisticated 'remove.'" It suggested a "world of ideas," inhabited by unassailable people who had rejected the pressure to connect and entertain.
There are two versions of Charles D'Ambrosio running through this important essay collection. First, there's literary journalist D'Ambrosio. You don't really care, reading this D'Ambrosio, how he got to be this thoughtful, conscientious, erudite, and so forth—you're just glad he did. Second, there's the D'Ambrosio who goes ahead and tells the story of how he got that way. And it turns out this is a story you want to hear after all—quite badly, in fact.
From our current vantage, it's not hard to acknowledge that one of the presiding spirits of early-twenty-first-century art is Ray Johnson's. Collagist, painter, poet, and the originator of mail art, Johnson took up the appropriative strategies of Marcel Duchamp and Jasper Johns, infused them with John Cage's ideas about Zen and chance, and energized the mix with his own brand of deadpan Conceptualism.
Genet's work might have taught the young Hervé Guibert to connect violence and desire, or maybe the wunderkind figured it out for himself. With or without tutelage, he quickly discovered how to worship a beautiful body while also wishing to despoil it.