‘The Dark Arts’ by Ben Marcus
|May 20, 2013|
From The New Yorker:
On a dark winter morning at the Müllerhaus men’s hostel, Julian Bledstein reached for his Dopp kit. At home, he could medicate himself blindfolded, but here, across the ocean, it wasn’t so easy. The room stank, and more than one young man was snoring. The beds in the old gymnasium were singles, which didn’t keep certain of the guests from coupling when the lights went out. Sometimes Julian could hear them going at it, fornicating as if with silencers on. He studied the sounds when he couldn’t sleep, picturing the worst: animals strapped to breathing machines, children smothered under blankets. In the morning he could never tell just who had been making love. The men dressed and left for the day, avoiding eye contact, mesmerized in the glow of their cell phones.
Julian held his breath and squeezed the syringe, draining untold dollars’ worth of questionable medicine into the flesh of his thigh. He clipped a bag holding the last of his money to the metal underside of his bed. His father’s hard-earned money. Not enough euros left. Not nearly enough. He’d have to make a call, poor-mouth into the phone until his father’s wallet spit out more bills.
He left the hostel and took the stone path down to nothing good. This morning he was on his way, yet again, to meet Hayley’s train. Sweet, sweet Hayley. She would fail to appear today, no doubt, as she had failed to appear every day for the past two weeks. It seemed more and more likely that his lovely, explosively angry girlfriend wouldn’t be joining him in Germany—even though they’d spent months planning the trip, Julian Googling deep into his unemployed afternoons back home, Hayley pinging him sexy links from work whenever she could. A food-truck map, day treks along the Königsallee. First they’d destroy England and France, lay waste to the Old World, then drop into freaking Düsseldorf for the last, broken leg of the journey.
Inherent Vice’s Two Directions
The jokes certainly strike one as sophomoric and the latter one as clichéd, further below Pynchon’s intelligence than one would like to think he would stoop, at least in print. Discounting them and moving on, or throwing the book across the room as Parker half implies we should do, however, would be to lose sight of “that high magic to low puns”.
Auden, Larkin and Love
I was prompted to revisit these ancient questions anew by a long footnote about a single line in the new Complete Poems edition of Philip Larkin’s poetry. The footnote refers to “An Arundel Tomb” contains a provocative remark about that the poem’s celebrated, controversial, closing line, the one about the true nature of immortality: “What will survive of us is love.”
Plato, Our Comrade?
Not surprisingly, there have already been critics of Badiou’s translation. The first is that his translation breaks the formal rules of translation to such a degree that the original meaning of the text has lost its significance. But this critique is inadequate at face value because Badiou’s hyper-translation is forthright in its intention of taking Plato’s concepts and modifying them into his own lexicon.
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The Minister of the Interior stood in the middle of the room, assessing three suits laid over a chair. One was a pale morning-sky blue; the next tan, of light material, intended for these terrible summers; the last a heavy worsted English three-piece, gray, for state visits.
The academic who was to open the Professor A. Katz Memorial Evening wore her best dress. Elizabeth Woolacott was a large-boned, energetic woman. The dress, from an Oxfam shop, was antique gold velvet in sumptuous folds of burnish and tarnish.
The joke of it is,” Henry kept saying, “the joke is that there’s nothing to leave, nothing at all. No money. Not in any direction. I used up most of the capital year ago. What’s left will nicely do my lifetime.”