ISSUE #2 OF BRIGHT WALL/DARK ROOM IS NOW AVAILABLE!
Featuring brand new essays from Amelia Gray, Matt Patches, Elizabeth Cantwell, Stephen Sparks, Sarah Malone, Letitia Trent, Sara Gray, and Andrew Root, as well as eight new and original illustrations by artist Brianna Ashby!
“Issue #2 is all about entering strange and unfamiliar worlds, a swan dive into the surreal. In the nine featured essays, you’ll visit many places: dilapidated hotel rooms, ancient Roman battlefields, a monastery built on top of an island in France, a dream-like version of New York City at night (shot on a giant soundstage in London), Sgt. Nicholas Brody’s refrigerator, The 2013 Cannes Film Festival, a trailer in an empty field surrounded by expensive and loud stereo equipment, an all-girls boarding school at the turn of the 20th century, and a portal that leads directly into John Malkovich’s brain…
Get ready to get weird.”
Click here to download and/or subscribe to BW/DR directly from your iPhone or iPad. You’ll be charged $1.99 per month through the iTunes store, and immediately receive access to this new issue, plus last month’s inaugural issue.
I’m so pleased to be part of this, and grateful to Chad, Elizabeth, and Michelle for their insightful editing, here and through the years.
The opening of Thomas Pynchon’s Bleeding Edge, forthcoming fall 2013.
I’ve been intensely curious about Pynchon’s next novel since learning its setting—nervously, because it overlaps disconcertingly with my manuscript, and with intense curiosity: how will Pynchon, whose work is so artificed, and who uses the epic so artfully to bolster passages of unabashed sentiment, work closer to his present home?
I love the complexity of point of view in the first paragraph, how the reader’s knowledge is assumed, and how the shift from the narrator’s perspective more directly into Maxine’s happens through the expression of resentment of a unspoken sentiment by an absent speaker.
Zig’s “Doesn’t suck”—yeah, we’re ready for that (though, Zig?)
The blurry reflections from apartment windows—I’m so on board for that patience. That’s from someone who knows, loves their neighborhood, its brick and mortar and texture of light.
The cops dealing with bagel deficiencies—I hear a syntactic echo of Harold Brodkey:
The local macrobiotic restaurant was crowded with people dealing macrobiotically with the virility and exoticism factors
Most of all I’m struck by the quotidian-ness that it is so warned against by the cinematic, put-us-in-the-action, what’s-the-conflict school of How To Write (and of course the page has plenty of conflict, or things impending—the first paragraph’s resentment, and the reader’s knowledge of 2001 bearing down. But after a page, are we even to the end of the block?)
For me, it’s the pear trees. I’m sold because the days of white blossoms are so few, and a boy named Zig probably thinks he’s being pretty nine-year-old cool to grant that the moment doesn’t suck.
Back Bay roofs from the Hynes Convention Center
I attended five panels. Two I left early. Two I would have gladly sat through for another hour, or reconvened. Two I overslept. In a panel titled “Argumentative Fiction,” Marlon James asked why Katie Roiphe discusses only the Davids and Jonathans, and not Junot Diaz, and why she does not compare Portnoy to Yunior. Two panels that I wanted to attend were Friday morning while we shoveled snow and snow fell so fast that in the ten minutes we took to change from our shoveling clothes a quarter inch had covered my car. On the Mass Pike braking was impossible, one lane entirely snowed over. We arrived, parked underground, found the narrowness of our spot and the florist’s truck next to it hilarious.Read on →
My review of Dear Life is up at The Common:
The fourteen stories in Alice Munro’s latest collection, Dear Life, are terser than her stories of a decade ago. Her 2001 collection, Hateship, Friendship, Courtship, Loveship, Marriage, nearly identical in length, contained only nine. Many of the new stories trace characteristically oblique paths. Munro draws opening scenes with particular details that seem intended to alert the reader to crucial moments and relationships, and then, instead of continuing those relationships chronologically, she sidesteps to previous events, or heads off in directions not initially suggested. Some stories traverse so many years that their openings, while always fitting, no longer seem the only possible entry points.
[W]here 2001’s “Family Furnishings” recounts decades of family history over more than thirty pages by way of correcting the narrator’s impression of a single image, Dear Life’s chronological corkscrewing happens at times not between episodes but from one sentence to the next. Particularly in the final four, more autobiographical stories, events seem to change as they’re narrated. Munro’s process of revisiting impressions and discovering overlooked drama has never been so clear.
by Sarah Malone
Zero Dark Thirty, the title, has the cadence and slightly unwieldy precision of military lingo: code, but only cryptic until you’re in the know. It’s meant to be readily recalled and quickly repeated and understood. The tweak from the military “oh” to “zero,” with its sharper sound and richer associations—Ground Zero, Zero Hour, Zero Day, countdown to liftoff or detonation—is characteristic of the film’s method and conundrum. It wants to be authoritative (at two hours and thirty-seven minutes, it had better be). It claims authority or merit beyond drama. “Based on firsthand accounts of actual events,” announces the onscreen text at the beginning, referring presumably to accounts the audience doesn’t have access to, possibly events the audience doesn’t even know of. But far from reportage, the film is an expressionistic odyssey, as focused on a single emotional register as Maya (Jessica Chastain), the CIA agent it portrays, is on Osama bin Laden.
I wrote about Zero Dark Thirty for BWDR. I can’t think of another film that’s left me with as clear and unshakeable a feeling, and as much difficulty trying to parse the reasons for it.
Adama and Starbuck, Lord Grantham and Lady Mary; Mary and Matthew, Starbuck and Apollo—individual personalities (and general competence) differ, but their relative positions in social hierarchies, and the resulting tensions and affinities, peel away the surface of Rolls and Vipers to very similar narrative engines: caution vs. audaciousness, directness vs. subterfuge, desire for preservation vs. change.Read on →