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Chủ Nhật, 30 tháng 5, 2021

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File this one under: How did he know? Rarely have I encountered a book so cuttingly prescient about the current emotional atmosphere. The novel has a simple premise and a familiar-seeming arc: A young, white, comfortable, upper-middle-class family heads out to a vacation rental anticipating a period of glorious disconnection. But that disconnection takes on a different tenor when the (Black) owners of the vacation house arrive, having fled the city and a crisis that is clear to precisely no one. (Alam’s deployment of creepy, inexplicable detail is masterful: A flamingo descends into the middle of the perfectly appointed pool, and I shuddered.) In some ways, the premise feels like the setup of any number of horror films, but Alam’s writing transcends that comparison, and the material with which he’s working is actually much more complex. When these two families are thrown together in a politely intense turf war over the place where they’ve taken shelter, all their preconceptions, biases, and assumptions simmer to the surface as they negotiate who “deserves” the home in this hour of need. This is a thrilling book—one that will speak to readers who have felt the terror of isolation in these recent, torturous months and one that will simultaneously, as great books do, lift them out of it. — Chloe Schama

Evie Wyld’s The Bass Rock is a haunted house of a novel, as intricately built as relentlessly ominous. Wyld, an Anglo-Australian writer, has unnerved us before, with her masterful, slim All the Birds, Singing (2014), but her new work tightens the screws: It’s that rare literary novel that will give you shudders. Set on coastal Scotland across three periods—present day, postwar, and the 1700s—The Bass Rock tells parallel stories of women in states of emotional disarray: Vivianne, a house sitter recovering from a mental episode; Ruth, a new wife saddled with an enormous house by her philandering husband; and an accused witch who has been grotesquely abused. Men are the monsters here—brutish, manipulative, helplessly carnal—but Wyld is so controlled and subtle a storyteller that her themes remain elegantly beneath the surface. What carries you along is the vivid description and an atmosphere of rising dread. A single set piece—a game of hide-and-seek on a windswept beach—is the most gripping thing I’ve read in ages. — Taylor Antrim

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Does the act of cooking a whole fish hold any sentimental value for you, or are there any interesting backstories to why it’s become a tradition? Whole fish is lucky so I make that every year. I used to think I had to have certain dishes, but it’s honestly about the energy and feeling of the day. You want to reflect on the last year, let out the things that were rough, and welcome the new. It’s a very spiritual holiday that is more about my connection to the universe, myself, and my community than any particular dish.

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Tell me a little more about the dish you’ve chosen—are there any quirks or tips to preparing it you want to share? I think it’s just time, patience, and consistency. People are always kind and want to help, but I usually tell them to pick the most expensive wine they can find in my Eurocave, smoke my weed, eat my mushrooms, but under no circumstances should they come help me in the kitchen [laughs]. I don’t like rushing when I cook for the holidays, I don’t like nervous energy, and I rarely like anyone else in the kitchen with me besides my mom or my good friend, Taylor Takahashi, because they are really detailed and pay attention to the nuance of dishes. If I show them my process for washing, drying, and picking cilantro leaf by leaf they don’t think I’m an insane person and they will do it the same way every time. Cooking and dating really go hand in hand. It’s not about finding the newest, shiniest, most expensive, ingredient, but choosing what you are genuinely curious about, learning it inside out, and being consistent in your relationship to it. Am I right or am I right? I’d cook with my homie Omid’s dad too, he is really detailed, works clean, kind of kitchen crazy, and has two nice dogs.

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(Content warning: This post contains discussion of suicide.) On Sunday night, the Duchess of Sussex was unabashed and unflinching. “I’m ready to talk,” she told Oprah Winfrey, looking her interviewer straight in the eye.

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The interview, the couple’s first since they stepped back from their royal duties, was billed as “Oprah with Meghan and Harry,” but it was Meghan who had the most significant story to tell. And understandably so, because for the past three years, she’s been the target of incessant negative press coverage.

Thứ Sáu, 28 tháng 5, 2021

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Obviously, even source material as stellar as Peters’s could falter in the wrong hands, but imagine if it were planned and executed by people who actually knew the contours of the lives they were describing. A show that employed trans writers and directors, cast actual trans actors in trans roles without a whiff of smirking self-congratulation, and let established stars co-mingle with talented newcomers? Could we ever be so lucky? (I want to see Trace Lysette as Reese yesterday.)

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Granted, Detransition, Baby only debuted a month ago, so maybe it’s unrealistic to expect a straight-to-series HBO pickup by February. Still, it’s hard to think of a novel that would translate better to TV, if done correctly; it’s cinematic without being cliché, wide-ranging without sacrificing specificity, and it excels at the work of bringing a unique world—specifically, the world of trans and queer Brooklynites looking for love, lust, and meaning, not necessarily in that order—vividly to life. Peters has already made history as the first trans writer to have a book issued by a “big five” publishing house. Considering how much Hollywood still struggles to effectively tell trans stories, it’s thrilling to imagine a bona fide TV version of her novel.

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It’s the culmination of many years of photographing by Salvaing who, at the ripe age of 18, left Southern France’s Camargue region for Rio de Janeiro. There, he would meet architect Oscar Niemeyer, the man responsible for the mid-century swagger of Brasília, and began photographing Niemeyer’s incredible buildings inside and out. (Salvaing’s previous two tomes were dedicated to Niemeyer, while the architect’s own home in Rio de Janeiro even makes an appearance in Interior Voyages.)

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“With this book, I wanted to tell a story. The story of these incredible homes, their uniqueness, and their identity. Much like how a film brings to light, in certain angles, the soul of a place,” says Salvaing. “For example, with Villa Planchard, it seemed essential to me to showcase the strong personality of this residence, which was conceived and designed by Gio Ponti for a couple of art collectors. The place is a bit like a movie character, whose personality was forged from its history, its volumes, the light that crosses it…it was a soul and life I wanted to capture.”

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What are some of the Lunar New Year traditions that you always stick to, and why? I don’t sweep the floor because I’ll take any excuse to not do chores, and because some superstitions stick when your mom yells them at you when you’re a kid. Tell me a little more about the dish you’ve chosen. Are there any quirks or tips to preparing it you want to share? My favorite Lunar New Year food is pineapple tarts. We used to live with my second aunt (二姨) and she would get my cousins, my sister, and I to help her with making her own pineapple tarts from scratch. So I guess the trick to delicious homemade pineapple tarts is child labor.

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How will you be celebrating the Lunar New Year differently this year? It looks like I’ll be spending this Lunar New Year away from home in Hawaii with my wife for the first time. But because Hawaii reminds me so much of Singapore and Malaysia it actually feels closer to home.

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I imagine you will want to deliver something that resonates with everyone, although the nation feels so divided right now. How are you negotiating that? The difficult thing about writing a poem like this is that you want to write it for a country, but you also want it to be accessible. You want it to be representative of all the colors and characters of people who might be watching it. Preparing for that [involved] reading the previous inaugural poems and trying to focus on what they do well. I’ve also looked to Abraham Lincoln or Frederick Douglass, who I love as a writer, or Martin Luther King, and the ways in which they used words to communicate the ideals of the nation in elegant rhetoric that [never] felt as if it was locked away in an ivory tower.

How are you preparing yourself to stand up and read in front of the tens of millions of people who will inevitably be watching? I’m almost like, is there a preparation for that? For me, it’s getting familiar enough with the poem, but I don’t want to bang it over the head to the point that, when I get on stage, I’m a robot. I still want it to be from the heart, so it’s practicing, rehearsing, but also making sure that inside me, it lives there. I try to approach reading in front of millions of people as I would reading in somebody’s living room. I’m trying to make this as special as I can for the American people, given that it’s a virtual reading. I want to challenge myself to imagine that closeness.