Closing tabs

Via Sadie Stein, Sylvia Plath's drawings.

What have neutrinos done for you lately?

Claire Cameron interviews Sheila Heti at The Millions.  (Particularly interesting thoughts there on revision.)

Lauren Beukes's teenage novel-ideas notebook.

Lily Ladewig on publishing her first book of poems (and good tips here on first-book-writing in general).

Highlight of last week: gin and marmalade at Madam Geneva!

Going underwater

Sheila Heti interviews Joan Didion for the Believer. (And I hesitate to link to it, since I think much of it is preposterous, but I did find that Caitlin Flanagan's piece on Didion in the Atlantic held my attention....)

The Flatt Prize will award $1000 to the winner of its short-story competition.

I have a minor but unpleasant cold; hoping to make a bit of headway this afternoon with the second half of the novel revisions (I sent a new version of the first half to my editor on Tuesday, which was good).  February is going to be a demanding month, and so is March, and April always is because of structural things about the shape of the school year, so I am endeavoring to push hard but also to pace myself for what is essentially an ongoing challenge that runs through the middle of May!

This side whimsy

I thoroughly enjoyed Misha Glouberman's collaboration with Sheila Heti, The Chairs are Where the People Go, after an initial round of disappointment that came to an end when I realized that it was completely unreasonable of me to expect this book to be exactly like and as good as Georges Perec's "Species of Spaces". I think it was the book's title that made me feel I'd be getting something so much along those lines: and no, it is not as good as that paragraph I just linked to indeed or that whole work, but it is very much worthwhile nonetheless (Perec sets an impossibly high standard).

Most attractive to me were the thoughts on groups and their working dynamics; Misha has had an interesting and unusual career thus far teaching improvisation and doing odd and highly imaginative sorts of classes, and his descriptions of this stuff really spoke to me. Interesting things to be gleaned here by anyone in education or the arts, I'd say, with particular focus on the productive tension between verbal and non-verbal forms of art, the nature of collaboration in a group and a cluster of related topics, including ephemeral art forms, games and the relationship between participation and performance (games and group dynamics being central topics of interest to me in BOMH). (Sheila Heti has done an interesting and imaginative job shaping the material into a book.)

Here's one of my favorite bits, a list of "some hard Charades clues" that emerged from years of teaching a workshop on charades (this is the sort of counterintuitive class in which Misha has specialized):

the Symbionese Liberation Army
Sum 41
"The more things change, the more they stay the same"
Guam
Being and Nothingness
Sometimes a Great Notion
the Dutch tulip craze of the seventeenth century
Fletch
Soren Kierkegaard
Bob and Carol and Ted and Alice
the Koran
"Bootylicious"
"The square of the hypotenuse is equal to the sum of the squares of the two adjacent sides"
E Pluribus Unum
Vinnie Barbarino
Koyaanisqatsi
Troilus and Cressida
the lambada
1984
Radical Chic & Mau-Mauing the Flak Catchers
Mr. Snuffleupagus
"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife"
"Que Sera, Sera"
Eine Kleine Nachtmusik
Godel, Escher, Bach
Soylent Green
shock and awe
The Metamorphosis
"'Twas brillig, and the slithy toves did gyre and gimble in the wabe"
trickle-down economics

Also, some very wise thoughts on conferences and why it is a pity that their current structure "doesn't just ignore the existence of the Internet, it ignores the existence of the printing press":

It's a medieval idea about how information should be disseminated--to imagine that if you want to know what someone thinks, you have to go sit in a room with them while they read out loud to you their thoughts. But at a lot of conferences that's the primary thing that happens.

Finding out what someone has to say in their paper isn't a reason to travel across the country and stay in a hotel room. A reason to travel across the country is to have conversations with people and actually form human relationships. Most of the stuff that happens at a conference not only does not help create that, it hinders it.

Chairs, houses

Interesting bit by Mischa Glouberman at the Paris Review. It is about going to Harvard, and what it means if you are Canadian:

If you go to Harvard and then you live in New York, no matter what you do, the fact remains that you will have old college friends who are in the top positions in whatever field of endeavor you’re concerned with. If you’re twenty-five, you’ll know people who are getting their first pieces published in The New Yorker. If you’re forty, you’ll know people who are editors of The New Yorker. You will know people who are affiliated with every level of government. And across the board, just everywhere, you will know some people at the top of everything.

But in Canada, if you went to Harvard, it’s just a weird novelty, a strange fact about you, like that you’re a member of Mensa or you have an extra thumb. There’s no Harvard community here. There are equivalent upper-class communities to some degree, like maybe people who went to Upper Canada College prep school, but it’s not even remotely the same thing. I mean, partly there just aren’t the same heights to aspire to. There’s no equivalent to being the editor of The New Yorker in Canada, or being an American movie producer or anything like that. Partly, the advantages of class aren’t as unevenly distributed in general.

So while going to Harvard constitutes an invitation to join the American upper class, this invitation is pretty useless if you’re living in Canada. I often think about how I was given this invitation—this tremendously valuable thing—and I just kind of threw it away. I’m not sure how I feel about this.

That's an excerpt from the book The Chairs Are Where the People Go: How to Live, Work and Play in the City, by Misha in collaboration with Sheila Heti; they are doing an event this Thursday in Brooklyn at the powerHouse Arena that I am sure will be worth your while if you are local, and here are details on some other tour events.