Literature

The Man You’ll Marry (short story)

THE MAN YOU’LL MARRY

by NILUFAR SHARIPOVA

From You’ve Got Grave Issues, a collection of short stories by Nilufar Sharipova, translated by Anne O. Fisher.

“All right, now, first we all pay up, and then I’ll tell you what you have to do.” Varvara Ivanovna Charodey went around to every girl, collecting her precious ten-spot from each. Her real last name was different, of course. Plainer. But intrigue is just so very important in this line of work, and also the name “Charodey,” or “enchanter,” did lend a certain authority to her new profession.

“We will be stepping onto the cemetery grounds in exactly fifteen minutes, when it will be seven-thirty. It’s not dark yet, but the sun is already setting. This is important. I’m bringing you to the gold-medal section, so to speak, the plots where academicians, heroes of the Soviet Union, actors, store managers, and just your average well-off citizens are buried. Everyone picks out their favorite grave and… Girls… Listen carefully, girls. I’m not going to repeat this ten times.” Varvara Ivanovna glared at two girls deep in whispered conversation. “As soon as you pick your grave, you need to run around it seventy-eight times. Exactly seventy-eight times, no more, no less. If you chose the grave of an academician, then you run around it seventy-eight times and it’s a done deal: you’re getting a servant of science as a husband. Before a month has passed, you will, without fail, meet an academician. A live one, of course, not the one whose grave you ran around. He’s not getting up from there anytime soon, don’t worry,” Varvara Charodey snickered, seeing the fear in the girls’ eyes. “Results are guaranteed.” 

Masha Trostnikova raised her hand like a schoolgirl to ask, “What if you can’t make it seventy-eight times around? What if you run out of steam before then?”

“If you make it fifty-eight times around, then it’ll be a professor, and if you make it thirty-eight times, it’ll be a lecturer. In the worst-case scenario, if you can’t make it past eighteen, you’ll get a grad student. It works out nice with academicians, they’re very reliable. The end result is pleasant, no matter what. But you should’ve just done your P.E. in school to begin with, and not asked for ‘exemptions.’ All that malingering in school, and now they can’t get themselves married, can they,” Charodey finished with a grumble.

Irina Solomonova’s eyes glinted with suspicion behind her thick glasses. “But why such a strange method? Why does it have to be at a cemetery? If it were really so easy, then why are there tens of thousands of unmarried women in this country? And then why are hundreds of thousands married to guys who make less than seventy rubles a month?” 

Ah. Varvara Ivanovna sensed that she shouldn’t have let Solomonova in the group. This kind of girl gives you nothing but trouble. Way too smart. But Charodey was not the kind of person who’d actually say no to an extra ten rubles.  

“Why, why, why. Just listen to this one, pelting me with questions, a real Doubting Thomasina. I’ll take it one at a time.” Varvara Ivanovna the sorceress knew that the only thing that works with girls like that is to speak in their language: be systematic and methodical, and, if possible, use special jargon. “Let’s start with methodology and location. Everyone knows that the planet Earth turns around the sun. And around the Earth itself there is a magnetic field. When the Earth’s magnetic field resonates with an individual subject’s magnetic field, that is, with a person’s aura, the result is that the energy of desire harmonizes with its embodiment. A cemetery, around the graves, is the precise place where it’s easiest to take the bearings of Earth’s magnetic fields.” Charodey was especially proud of her new word, “aura”; and although she didn’t really know what “taking bearings” meant, she did know that it never failed to impress. “As for why women don’t get married, or marry badly… Well, some don’t want to employ my method, while others simply don’t know about it. What, do you think it’s easy to sign up for my sessions? Look at all of you, every last one of you heard about me through a friend. I don’t just take anybody who wanders by. I have to stand by my guarantee, you see. All right, it’s time for us to go. It’ll be seven-thirty soon, and we’re standing here jawing.”

“Yeah, let’s get going already,” said Liza Katushkina impatiently, shifting from one foot to the other. She looked Solomonova up and down, sniffed, and added, “If anybody here doesn’t believe in this, or doesn’t think they could ever get married anyway, then let them stay behind and quit keeping other people from finding happiness.”

The girls trooped out to the precious section under the leadership of Varvara Ivanovna.

“All right. We’re here. Make your choice,” Charodey commanded.

Irina Solomonova wasn’t giving in. “What if two of us like the same grave?”

“No big deal. One of you waits while the other one runs, or you can both run together. Just don’t choose a cosmonaut’s grave. We only have a few of them in the whole country. There aren’t enough cosmonauts for everyone.”

“Are you sure you brought us to the right place? Look what a little gravestone that is, you can barely even see it,” said Liza, suspiciously eyeing a modest headstone shaped like a book.

Varvara Ivanovna couldn’t help herself. “Phooey! Young people these days… Do you have any idea how much that ‘little’ gravestone costs? It’s pink granite. Pricewise it’s like pink diamond. Go with that one, you won’t regret it. Your groom will be rich and have a good head on him.”

“No, I like this one better,” said Liza Katushkina, walking over to a massive black stone featuring a portrait of a man in dark glasses wearing a thick gold chain on his neck.

“So you choose Gabriashvili? He’s a crime boss. I’m obligated to give you fair warning, but it’s up to you to decide whether you want somebody with this profession or not.”

“What if I don’t get all seventy-eight laps around him? What’ll I get then?” Liza had evidently set her cap for a criminal.

“A petty thief. A gofer,” replied Varvara Ivanovna knowledgeably.  

“Ew, I don’t want a gofer.”

“What are you standing around waffling for? The others have already figured it out and started running. Pick an academician, no way to lose on that one.” Charodey was beginning to get a little tired of this group. Too active.

“No, I don’t want an academician, too boring. I don’t want an actor, either. They smile all over the place, and blow kisses to everyone. Try keeping track of them. I want somebody who’ll run after me.” Liza sighed and rolled her eyes pensively. 

“You be careful what you wish for, girlie,” sighed the practical Varvara Ivanovna, dismayed to discover yet another form of girlish idiocy. 

Suddenly a noise came from the tall hedge dividing their section from the others. “Let’s not get worried now, girls, let’s keep running. That’s Sergey, the cemetery watchman, who’s also moonlighting today as our guard. Did you think I’d leave you in here all by yourselves? I’ve got it all figured out. This is my business, after all,” Charodey proclaimed authoritatively. She instructed the young man, “Now Sergey, don’t you go scaring the girls. Come over here and sit by me.”

Meanwhile, Liza Katushkina was still wandering around, peering at gravestones. It must’ve been the deepening dusk affecting her, or perhaps it was Sergey with his curly bangs, but either way, Liza finally started racing around a memorial stone. From that distance, Varvara Ivanovna couldn’t make out who Liza had chosen to marry. Nobody had ever picked that grave before. Charodey, dying of curiosity, made her way over to Liza, as though merely making the rounds. She needed to check on all her charges’ progress, after all. And it was a good thing she did. Liza suddenly collapsed and made no attempt to get back up. Charodey and the cemetery watchman jumped up in unison and ran over to the girl. It was only after Sergey tenderly picked her up in his arms, and she fluttered her eyes and murmured “eighteen laps,” that Charodey thought to look down at the gravestone: “Konstantin Nikolayevich Bushuyev. Beloved father and irreplaceable director of Cemetery Number One. Rest in Peace.”


Nilufar Sharipova was born into a family of journalists and cemetery managers in the Soviet Union. This unusual combination has defined her writing, and her stories often revolve around life in a cemetery during Soviet and post-Soviet times. Nilufar now lives in London. “The Man You’ll Marry” is her first published work of fiction.

Anne O. Fisher translated Ilf and Petrov’s novels The Twelve Chairs (Northwestern UP, 2011) and The Little Golden Calf (Russian Life Books, 2009). She has also translated the fiction of Andrey Platonov, Margarita Meklina, and Ksenia Buksha. With co-translator Derek Mong, she won an NEA translation grant to support work on Maxim Amelin’s poetry; their translations have appeared in Asymptote, the Brooklyn Rail, Lunch Ticket, Two Lines, and elsewhere. 

Photography

Photographer John Brian King Releases Short Film

MODEL TEST

A Short Film by John Brian King

model – n. One that serves as the subject for an artist, especially a person employed to pose for a painter, sculptor, or photographer.
test – n. A procedure for critical evaluation; a means of determining the presence, quality, or truth of something; a trial.

Photography, Publishing

“LAX” makes the Sunday paper edition of the LA Times

LAX: Photographs of Los Angeles 1980–84 made the Sunday paper edition of the LA Times’ Arts & Books! Pick up a copy or read it online for a fascinating article by Carolina A. Miranda, featuring an interview with photographer John Brian King.

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

An Interview with John Brian King, a Playlist, and More

The photographer chatted with Impose Magazine writer Matt Draper about his book LAX: Photographs of Los Angeles 1980–84The article features other photographs taken by John Brian King in the 1980s (including photographs of Disneyland and the band Public Image Ltd/PiL), as well as a playlist of what the photographer was listening to at that time.

That, and a few choice quotes, like…

“Los Angeles in 1980 was the year Dorothy Stratten was murdered and Kim Kardashian was born – and I know which celebrity I prefer.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Publishing, Photography

“LAX” Featured in Slate (with an interview!)

Slate writer Jordan G. Teicher interviewed John Brian King via e-mail about his photography book LAX. The resultant article, which appeared in Behold: Photo Blog on Slate on November 30, is a fascinating look into King's aesthetic and photographic process.

John Brian King was 18 when he first started making photos at Los Angeles International Airport (LAX). It was 1980, and only a year earlier he’d purchased his first photography book by Weegee, who is famous for his flash-heavy, black-and-white photos of urban life. The influence is clear in King’s series, “LAX,” which appears, along with another series, “LA,” in LAX: Photographs of Los Angeles 1980–84, published by Spurl this month.  
“I think the photographs in my book stand out as documents of a disappeared time—for me and my subjects—and a visual commentary of how I perceived humanity in my youth,” King said via email.
“I loved photographing these travelers arriving at the airport, brutally assaulted by this sea of ugliness, attempting to cope. I wanted to show, through the stark art of black-and-white photography, the dry vulnerability and humor of these people.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Literature, Publishing

Spurl Editions profiled in MobyLives

Chad Felix, of Melville House, wrote a wonderful piece about Spurl Editions and Henri Roorda’s My Suicide on November 13, 2015. It was published in MobyLives, and includes a sneak peak into our anticipated spring translation release.    

An excerpt of the work published in Asymptote reveals [My Suicide] to be a wry, self-aware affair.
[…] Suffice it to say, this is an exciting start for Spurl Editions, and good news for the world of literary translation.


Photography, Publishing

The Weary And Harried Travelers Of LAX In The Early 1980s

Photographer John Brian King spoke to Danny Jensen of LAist about what drew him to LAX and what has changed since he took these photos. The interview is accompanied by a slideshow of images from the book. Plus, in even more awesome news, LAX is now available at Skylight Books in Los Feliz.

Looking back on the photos, what has changed about LAX and Los Angeles in general over the years in your opinion?

LAX back then was always in a constant state of controlled anarchy; now it is just controlled, fixed and rigid. Having been to many other airports since I photographed “LAX,” I now try to avoid flying through LAX at all costs; I currently live in Palm Springs, which has a genius open-air airport designed by the noted mid-century modern architect Donald Wexler (who also is the architect of my house).

To me, Los Angeles has become banal, corporate, dysfunctional, and aesthetically inert. When I took the photographs, it was the era of punk rock shows at the Whiskey, “Repo Man” being filmed in my neighborhood, and performance art by Mike Kelley at LACE—an atmosphere that I thrived in.

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

L.A. By Night – Interview with John Brian King

LAX was featured in Amadeus, an arts and culture magazine based in LA, with text by Taylor Wojick. The article includes an interview with photographer John Brian King. Here's a little excerpt.

Observational documentation and archival footage is what allows my generation to gain a better understanding of the past, through an unbiased visual narrative. What sort of impact do you think these photographs will have in 60 or even 100 years?
John Brian King: To my mind, there is no such thing as an “unbiased visual narrative.” Even cameras that are technically “unmanned” – bank surveillance cameras, police dash cams, Google Maps cameras – create their own biased narratives by the very nature of the people who control them.
A hundred years from now, I hope my photographs will be viewed as another tiny blip of aesthetic evidence of humanity’s absurdity and possible decline. I would be haunting someone from my grave if my photographs were curated by a nostalgic academic who was only interested in recontextualizing them into a horrible miasma akin to “Humans of New York” or “The Family of Man.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

Flashback: Los Angeles Airport in the 1980s

LAX was featured in the fabulous AnOther Magazine, with text by Maisie Skidmore and – if we may be so bold – a terrific slideshow of images.

"I don’t want to be nasty," Karl Lagerfeld told Susannah Frankel shortly before the beginning of Chanel’s S/S16 airport extravaganza at Paris Fashion Week, “but of course in an airport, with the bus tours, it’s not the same as an airport as it was in the past, with first class, when travelling was something people dressed for.” It’s an incisive observation, as it is Lagerfeld’s wont to make, but of course he has a point. “We live in another world,” he summarises, and it's this world, in which airports are no longer the domain of the rich and famous, which is the subject of a new book of photographs by John Brian King, entitled LAX: Photographs of Los Angeles 1980-84.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

From Airport to City: Moody Photos of 1980s Los Angeles at Night

LAX was featured in Flavorwire over the weekend, with a terrific write-up by Alison Nastasi and a slideshow of John Brian King’s photographs.

You’re probably already familiar with the work of photographer John Brian King. He’s designed the film titles for dozens of movies, including Boogie NightsThe RingMagnoliaPunch-Drunk Love, and Lilo & Stitch. King also directed a movie called Redlands, set in the California city. But it was over 30 years ago that King first had his eye on the Golden State. 
His photographs, focused on the harried travelers bustling in and out of the Los Angeles International Airport and the gritty streets of Los Angeles at night, haven’t seen the light of day since the ‘80s. Those black-and-white negatives have finally reemerged in a new book published by Spurl Editions, LAX: Photographs of Los Angeles 1980–84, available on November 2. 
The photographer’s monograph tells a parallel story that ushers us from airport to city — the chaos of the LAX lobby to the Sunset Strip, revealing images of a metropolis that has since vanished.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

“LAX” Featured in KCET’s Artbound

KCET’s Artbound features photographs from John Brian King’s LAX, as well as the photographer's afterword. 

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

“LAX” Featured in We Heart

“John Brian King's confrontational style ignites the tension at early '80s LAX…” writes Rob Wilkes of We Heart, a journal that combines in-depth stories with design-led news from all areas of contemporary culture. He goes on:

There’s a palpable sensation of restless tension that seems to permeate the atmosphere at airports, and the bigger and busier the terminal, the more that tension is felt. There’s simply too many people all trying to do the same thing in too little space. The stop-start queueing, the frantic dashes for a far-flung gate, or just as often the long, boring wait to be called. Lost baggage, cancelled flights, forgotten passports, screaming kids, travellers both nervous and the exhausted, bursts of joyous excitement — emotion at every step.
Even in the days before the stringent anti-terror security measures, airports were a pretty fraught experience. Back in the early ’80s, brash young photographer John Brian King threw himself into the potential powder keg that was Los Angeles International Airport with flash blazing — deliberately intrusive and often unwelcome — to see what might combust. Aside from the human drama, King was also drawn to the fabric of the building itself, and the detritus and damage left behind by the transit of so many people. Born and raised near LAX, King was fascinated by flight from a young age; his childhood home was on a street called Flight, he went to a school named after Orville Wright, and his father was an engineer on both the B-52 bomber and the space programme. He shot his airport images while a teenager before leaving for art school, later returning to take up a night-time survey of Los Angeles’ streets for a second series.
The negatives remained in a box for 30 years as King abandoned photography for writing and filmmaking, but the two series are now seeing the light of day together in this photobook. LAX: Photographs of Los Angeles 1980-84 by John Brian King is published by Spurl Editions, and due for release in November.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Literature, Publishing

Excerpts from “My Suicide” in Asymptote

Excerpts from the forthcoming ebook My Suicide, by Henri Roorda, are featured in Asymptote’s October 2015 issue! Read them here. Asymptote is an international journal dedicated to literary translation.

The post is accompanied by short biographies of the author and translator, a letter written by Henri Roorda the day before his suicide, an illustration by Samuel Hickson, and the French text. 

Eva Richter, the translator of My Suicide, was the blog editor at Asymptote from 2014 to 2015. During that time she interviewed authors such as Luis Negrón and reviewed literature in translation.

We hope you enjoy this preview! The full ebook will be published November 18, 2015.