Photography

Oslo by Maren Morstad (Photography)

OSLO

by MAREN MORSTAD

Maren Morstad’s photographs of Oslo are desolate and elegant: in them, Norway’s uninviting-yet-beautiful natural spaces become a sort of backdrop to tired dwellings and anonymous people. It's a wonderful vision of Oslo, which here seems sleepy and indolent (thought it most likely is not). Morstad’s vibrant colors have a familiar cinematic appeal, which gives these photographs the qualities of half-remembered movies, of daydreams.

“Already, he was dreaming of a refined solitude, a comfortable desert, a motionless ark in which to seek refuge from the unending deluge of human stupidity.” – Joris-Karl Huysmans, À Rebours


Maren Morstad is a creative artist born in Scandinavia, educated at Hyper Island, and after almost a decade of working in London and New York City, now back to her hometown of Oslo. While she is personally quite interested in living a minimalist life, she has a maximalist approach to her work process and feels most content when doing photography and being creative. Follow her work on Instagram and on her website.

Literature

Excerpt from True Homosexual Experiences

In 1985, Boyd McDonald filled the distressing void in “film criticism” left by Parker Tyler, whose The Hollywood Hallucination (1944) and Magic and Myth of the Movies (1947) rendered worthless all other movie writings. Until McDonald’s Cruising the Movies, that is. Every page of this collection of essays made me laugh (which made the people I live with cringe)—from McDonald’s dissection of “Ronnie” Reagan’s grotesque legs, to his lust for Big Circus star David Nelson (seriously, look those film stills up), to McDonald’s thoughts on the word “prurient” (blch). And while he was staying up late to watch some of the worst movies ever made (which is to say, the best), McDonald created and edited Straight to Hell, a series of chapbooks that collected readers’ “true homosexual experiences” (these were apparently considered pornographic by Sonia Sotomayor). Writer and filmmaker William E. Jones wrote a wonderful introduction to Cruising the Movies, available now from Semiotext(e), and his account of Boyd McDonald and Straight to Hell has just been published. Everyone should read True Homosexual Experiences; so start by enjoying this excerpt below! — Spurl Editions.


From TRUE HOMOSEXUAL EXPERIENCES

by WILLIAM E. JONES

Full of anticipation and unsure of what he is looking for, a young man enters an adult bookstore. Stepping through a creaky door bearing a warning sign (“no minors”) he heads for the magazine rack. Among the glossy full color porno magazines giving off a chemical smell, he sees a small, pamphlet sized publication called Straight to Hell. The title recalls condemnations such as “god hates fags,” but at the same time suggests defiance—anyone on the straight and narrow path can go to hell. The cover features an image of a naked man who looks nothing like a model, and may be an ex-convict. Not “fabulous” or campy, the booklet seems old-fashioned and homemade, the opposite of what the young man has been led to expect from gay culture. Inside the issue, there is a rhyming slogan in the masthead: “Love and Hate for the American Straight.”

Straight to Hell’s visual style is immediately recognizable yet anonymous, just like its contents. Lurid, tabloid-style headlines introduce texts contributed by the readers. They describe sex acts between men in many different settings, in various parts of the United States and the rest of the world. This comes as news to the young man: homosexuality is not just confined to a few neighborhoods in big cities and is more or less (for lack of a better word) ordinary. The young man shoplifts a copy of Straight to Hell, and at home he masturbates to the words and pictures. Though he doesn’t realize it at first, this small booklet has changed his life. On one page, there is an address, a post office box in New York City where he can send orders for more issues and submit his own sex stories. Accompanying the address is a name: Boyd McDonald.

McDonald, founding editor of Straight to Hell, was the main creative force behind one of the most distinctive underground publications, in fact, the first queer zine. Self-published and crude, Straight to Hell’s sense of urgency was as strong as its contempt for authority. Fanzines and underground comics of the 1960s and early 70s had combined these elements before, but none of them were devoted to homosexual material. From the 1950s onward, early gay publications (for example, One, “The Homosexual Viewpoint” and Physique Pictorial) had used the same format—the size of an 8 ½ by 11 inch sheet of paper folded in half—but none of these prepared readers for Straight to Hell. The main difference from its predecessors was its attitude: the man who assembled this material just didn’t give a damn about any recognized standard of taste.

Issues of Straight to Hell were illustrated with beefcake photographs and candid shots of men. Most were by Bob Mizer of Athletic Model Guild or David Hurles of Old Reliable, but Straight to Hell also published many amateur photos sent in by subscribers.

The unnamed men who contributed their stories came from all walks of life, barely literate to highly educated. Some were young, while others were old enough to remember the early years of the 20th Century. They all had one thing in common: a need to write accounts of their sexual exploits and share them with their fellow men. Boyd McDonald attached great importance to his undertaking; he once wrote, “I consider this history, not pornography. It’s very serious work… the true history of homosexual desire and experience. Any gay publications that do not deal with the elemental discussion of gay sexual desire are not serious—they are frivolous.” He collected sex stories from a multitude of men and kept his comments on them to a minimum.

Boyd McDonald reserved most of his editorial commentary for news items about the stupidity, hate, and war-mongering of American politicians, and he illustrated them with unflattering photographs. Boyd knew how to spot a con artist, especially one who had wrapped himself in the flag.

Boyd made his political opinions explicit, but he wrote about his personal life reluctantly. A brief account, varying only slightly over the years, became the basis of a compelling biographical myth. One “author’s bio” from the early 1980s is typical:

Boyd McDonald was born in South Dakota in 1925. “I was a pioneer high school dropout,” he writes, “leaving school to play badly in a bad traveling dance band. I was drafted into the Army, graduated from Harvard and came to New York, where my principal activity was taking advantage of the city’s public sexual recreation facilities. As a sideline I worked as a hack writer at Time magazine, Forbes, IBM and even more sordid companies…. I started the magazine STH (Straight to Hell), The Manhattan Review of Unnatural Acts, later re-named The New York Review of Cocksucking.”

He describes pillars of the establishment as “sordid” and sends up The New York Review of Books by replacing “books” with “cocksucking,” a clear statement of priorities. The text is found at the back of the second anthology of “true homosexual experiences” drawn from the pages of Straight to Hell.

Eventually 13 STH collections came out from various publishers. They all had concise, direct titles: Meat, Flesh, Sex, Cum, Smut, Juice, Wads, Cream, Filth, Skin, Raunch, Lewd, Scum. A number of proposed titles—Bare, Heat, Hoses, Sex Hounds, Sperm, Stuff, Tools, Used—remained unrealized at the time of Boyd’s death in 1993. These books contain descriptions of “how men look, act, walk, talk, dress, undress, taste and smell.” At first glance, Boyd’s publications might appear to be indistinguishable from the many subsequent ones that copied Straight to Hell to less effect and acclaim. A careful reading of STH reveals that its editor possessed a unique sensibility; his subversive wit graced every project on which he worked. Boyd had a reputation for being a curmudgeon, and beneath his polite demeanor was a fiercely individualistic anarchist.

In a recent biography, a bit of pleasure reading, I was struck by the phrase “improbably literate hustler,” the kind of expression that brings to mind Victorian pieties about a whore with a heart of gold. The writer’s assumption, presumably shared by many of his readers, is that for a biography to impart the greatest moral edification, the subject should be respectable (educated and not a whore) or filthy (not educated and a whore). The former kind of subject serves for inspirational stories (“someone just like me has succeeded”); the latter, for cautionary tales (“someone I wouldn’t want to be has failed”). The subject who confounds these categories poses difficulties, either when educated and a whore, i. e., unable to act in his or her best interests (a mentally ill person); or not educated and not a whore, i. e., childlike, unyielding, and inscrutable (a saint).

The homosexual, considered mentally ill until fairly recently in the United States, can disturb these comforting habits of mind. The suspicion that educated men were enjoying the company of hustlers when they weren’t toiling at their respectable jobs did not occur to the benighted American majority until the latter half of the 1960s, if then. With the arrival of AIDS in the US, an alarming number of homosexuals became physically ill, and the signs were unavoidable: uninhibited fraternizing between men of different ethnic groups and social classes had been taking place, often in public and even in broad daylight, for many years. Then AIDS killed all the really interesting people, and a group of jealous perverts who appointed themselves defenders of the American way of life unleashed a backlash. Those who came into this world after the worst years of the AIDS crisis may imagine that the moral panic is a thing of the past, like the witch trial, but anyone who lived through that time knows that moral entrepreneurs (when they aren’t occupied with stealing money and spending it on hustlers and drugs) are always looking for new excuses to spring into action.

The American puritanism nurturing moral panics also dictates that those with a sexual role in society—prostitutes, pornographers, promiscuous amateurs—cannot be taken seriously as artists. Discounting their work is an example of stereotypical thinking, the mob mentality enforcing conformity. Gay artists who really risked something—usually called erotic artists when not being prosecuted for obscenity, pandering, or endangering children—have only recently gained some credibility in American culture (e. g., books published and art exhibited). Considering the joyous recklessness of their lives, the erratic quality of medical care for any but the privileged in this country, and that their generation was already decimated by AIDS, they have come to seem like combat veterans, but without medals, because instead of foreign enemies, they have been fighting the prejudice, pettiness, and hypocrisy of American society. They have sacrificed everything so the rest of us can see photographs of naked thugs, experience vicariously the kind of sex sensible people hesitate to seek out, and read stories of their colorful lives in explicit detail. Some of them contributed to Straight to Hell; a few are still alive today. They deserve our respect and gratitude.

Almost infantile in its defiance and not acknowledging the boundaries between public and private, Straight to Hell is easy to dismiss as the work of an obsessive crank, yet within its pages enduring truths are found. Anyone can see this stuff is trash, but somehow it has never gone away; that is because the social ills Straight to Hell diagnoses have never gone away, either. As long as brain and genitals must coexist in the same body, in other words, as long as we are human, we must reckon with Boyd McDonald and his inconvenient messages.


True Homosexual Experiences: Boyd McDonald and Straight to Hell is now available from We Heard You Like Books. Author William E. Jones will be reading from and discussing his book on April 26 at City Lights Bookstore (San Francisco), and on April 27 at Skylight Books (Los Angeles).

William E. Jones was born in Canton, Ohio. He received a B.A. from Yale University and an M.F.A. from California Institute of the Arts. He has made the films Massillon (1991) and Finished (1997), which won a Los Angeles Film Critics Association award, the documentary Is It Really So Strange? (2004), and many videos including The Fall of Communism as Seen in Gay Pornography (1998). His work was included in the 1993 and 2008 Whitney Biennials, and he has had retrospectives at Tate Modern (2005), Anthology Film Archives (2010), and the Austrian Film Museum (2011). He has received a Guggenheim Fellowship, a Foundation for Contemporary Arts Grant, two California Community Foundation Fellowships, and most recently, a Creative Capital/Andy Warhol Foundation Arts Writers Grant. His books include Killed: Rejected Images of the Farm Security Administration (2010), Halsted Plays Himself (2011), and Imitation of Christ, which was named one of the best photo books of 2013 by Time Magazine. He lives in Los Angeles.

Literature, Publishing

Excerpt from “I Am Not Ashamed”

From I AM NOT ASHAMED

by BARBARA PAYTON

My rent was overdue a week and I only had one dollar in my pocket. I had had two warnings from my landlady. In my refrigerator there was some American cheese and soda water. Also a can of peaches someone had given me as a joke, I forgot what the joke was. But that would see me through a day or two.

I took the dollar, my last, and went to the movies to see one of my old pictures, Kiss Tomorrow Goodbye with James Cagney. I enjoyed it very much but it was ironic that I had been paid so many thousands of dollars to do it and I only had a dollar left to see it.

All during the picture I kept my mind off my troubles – I couldn’t solve them anyway. Then I walked home just thinking about how I loved to act and make movies.

I hadn’t eaten all day so I opened the can of peaches. They were delicious and the whole can filled me up. Then I looked around through all my things to see what I could pawn. There wasn’t anything. I was down to bedrock.

But I still had a telephone. I went through my address book. I had borrowed from everybody. Some, more than once. There were still men who would take me out to dinner. But how do you live on no money at all?

I didn’t answer the knock on my door because I knew it was the landlady and I wasn’t ready to talk to her yet.

I looked in the mirror. To me I looked the same as ever – just as I had in the movie. What had happened? I undressed and looked at myself in the nude – not much change. I could lose five pounds but not more. I put on a dressing gown and washed the peaches dish and spoon.

There was a knock on the door. I opened it this time. It was the landlord, a tall, kindly man browbeaten by his wife. “I’m sorry,” he said, “but my wife says your rent is overdue.” He said it as if his wife had made some mistake.

“Come in,” I said, with what little charm I could muster for the situation.

He came in and stood, looking uncomfortable. “Wasn’t it a lovely day?” he said finally.

I nodded. I knew landlords such as these had heard every excuse in the book but I decided to try one anyway.

“Mr. Gordon,” I explained. “My husband’s alimony check, which is usually here long before this, should definitely be here tomorrow. I can almost guarantee it. I will slip the hundred-dollar check under your door before noon.”

He looked miserable. “My wife said – I have nothing to do with it – that I should either get the rent money or ask you to move out . . . tonight.”

“Don’t look so sad,” I said. “If that’s what she wants, that’s what it will have to be. I really don’t have any money.”

We both just stood there. “Could I . . . lend you five dollars for food?” he said.

I just shook my head “no.” Then, though I had been feeling great and had been smiling just a few minutes before, I suddenly burst into tears, great gulping sobs accompanying them. It seemed as if the whole world was collapsing on me.

Mr. Gordon patted me on the shoulder at arm’s length and tried to give me a handful of crumpled bills. I wouldn’t take them but I put my head on his chest and continued to sob.

“Please,” he said, “don’t cry. I’ve collected other rents and I have some money. My wife won’t know – if you can pay in a week it will be alright.”

A week. It sounded glorious, but what then? It was no silver lining to my black clouds.

I tried to stop crying. “Don’t worry about me. I’ll be alright – honest I will.”

He patted my head. Then he kissed my forehead gently. “I’d help you if I could. My wife . . . ”

I nodded understandingly and went to brush my hair back with my hand. It hit his hand by accident and some of the money fell to the floor. I bent to pick it up for him and when I handed it to him I noticed he was staring. I looked down and my dressing gown was open, showing almost everything I had.

“I’m sorry,” I said.

He swallowed hard. “You . . . ” I don’t know what he wanted to say, but he moved to me as if in a trance and moved his hand from my neck down past my breasts. I didn’t try to stop him.

He kissed me gently again, this time on the lips. “The hundred dollars,” he said, “is in my wall safe. I’ll pay your rent. It’s my fishing vacation money. I need you – to prove I’m a man. To prove to me . . . I mean.”

I would have gone to bed with him for nothing. I had a great compassion for him. I locked the door and dropped my dressing gown.

My rent was paid for one more month.

Photography

In the Midst of Things (photography)

IN THE MIDST OF THINGS

by SARAH HIATT

Sarah Hiatt’s series examines childhood and adolescence in all its uncomfortable bleakness. The children’s faces are intense; their house and neighborhood aggressively normal. Hiatt is different from the many photographers who choose to simply accentuate the eccentricities of a home or a family setting: for those photographers, it is as though an ugly wallpaper and a loud blazer is enough to make a nondescript couple fascinating. But everything that is interesting and strange about this family—whoever they are, wherever they live—seems to come from within them. In the Midst of Things is a work in progress, which you can (and should!) check out here.


Sarah Hiatt is a 28-year-old Southwest Missouri native residing in Chicago, Illinois. She is currently a candidate in the MFA Photography program at Columbia College Chicago. Her work centers around childhood and the transition into adolescence, when we become psychologically and physically aware. Her photographs have been in numerous national and international exhibitions. Visit her website at www.sarah-hiatt.com.

Literature

Editorial of a Former Vice President (short story)

EDITORIAL OF A FORMER VICE PRESIDENT

by EVA RICHTER

It seems foolish to say something so simple now, when it should just be clear, but a government is not some stagnant thing. It is a political body, and voters and reporters would do well to consider their country’s political body as something like their own body. The political body, like the human body, changes with the times, and it changes with each new “doctor” who takes charge of it. This doctor prescribes medications to a country so it can prevail over each new threat, whether this is an economic threat or a threat to national security. These threats can come from outside a country or from within it, but either way, a political body needs to take these threats as seriously as a doctor would take a life-threatening infection—when necessary changing and going to extremes to protect the country: this is a doctor’s only responsibility.

When I consider the current administration’s actions, I can’t help but see before me a dangerous irresponsibility. This irresponsibility manifests itself in the administration’s lax response to terrorist threats originating in the Middle East and equally within our great nation. To give the violently radicalized within our borders the same rights as tax-paying farmers, teachers, and firemen puts us all at risk—the kind of risk no doctor would tolerate. When we feel within our body a threat growing, we cannot afford to do nothing. In a limousine, in a conference room, lying in bed, we feel the threats grow within us. Finally the heart beats fast, but our body strains to keep up in a way that it never did when we were young and vigorous. This is the strain of years, affecting the body politic too. The current irresponsible administration chooses to ignore it, this strain of years. But the body struggling, these threats within us, cannot be ignored.

Worn down by our years we feel these threats ever more acutely. Failing, the heart, the source of threats, was taken out and replaced with another; this one beats despite the failing whole, the failing body struggling to die against the artificial heart beating on and on. We know it’s there when hand goes to chest, a hand that shakes, to feel the scar they the doctors left.

Every scar on the chest can be felt until what is left of the chest but scars and underneath the artifice beating. This fake part thumps on while the body tries to die. Hand to chest, beneath suit jacket, beneath white shirt, you count the scars, and each one is a different threat conquered, a new threat defeated, but still you’d rather junk it all and start again. Take the artificial piece and match it with other artificial pieces like those of vigorous and healthy young men. Artificial lungs, and an artificial stomach digesting white pellets of food, and a vigorous young man’s colon spitting the pellets into the toilet. This is the ideal, but your brain controlling it, not the brain of some vigorous young man who doesn’t know about threats, and who says they don’t exist when they are inside him and he just won’t look.

To junk the body and rebuild it with parts; this artifice beating is the first step.

Artifice beating too fast you see the forests of Northern Virginia rush past the limousine. These the world’s most hideous forests, the Northern Virginia forests, their colors ever the same, and feeling the scars your blood throbbing you ask why here, Fairfax and Loudoun and Fair Oaks, dreary all, hospital swamp towns designed for misery. You ask yourself so why bother, next time make them meet you. Let them come to you in your beautiful McLean home. Have the surgeons come to McLean to replace your parts, replace the battery replace the valves plug you into the socket. Who knows what people like that will think of next. The basement empty let them transform it into an operating theater. This in the name of your safety and the threats you face, not only from the inside but from the outside too, from those enemies who fall on you any chance they have. Tell the surgeons you have no choice but to stay at home. Avoid Northern Virginia’s hospital complexes and avoid Northern Virginia’s forests, each one twists into the other. Blood rushing down your spine, you say avoid it all and junk it all, to the driver faster home, as you pick up the phone and call her, the only one you can call when you feel this way, who loves this, the way you are, dying and wretched. You can call only her, your sick little love.

She says she’ll meet you, she’ll call Michael and tell him not tonight, he’ll have to find his own dinner. It’s impossible not to love her, who will drop everything for you, who acts like you, thinks like you, looks like you once did, but seeing your scars isn’t disgusted as you are every time. To look in the mirror is now to feel a shock. Is that enough to end it? Two seconds in front of a mirror in the steamy, rank bathroom and the whole thing will collapse, only artifice beating endlessly while the brain is dead, stomach is dead, kidneys are dead on the soaked shower mat. Beautiful and wet between the legs she is every time she sees you in your dying state. In the hospital or in your bed at home but with the doctors standing over you, she gets the same nasty look. Before calling the coroner she would get down to the bathroom floor and suck you until the last drop comes, and this the only chance you’d have of waking up again, waking up and demanding your new parts. That much at least is owed to you after all you’ve given them.

So she says she’ll come, and now the artifice beats too fast in excitement, now even this brand-new part a threat.

How feasible would it be for someone to assassinate me by reprogramming the device? That was your first question when they showed you what they planned. They said not very feasible, but it’s something to consider. Anger rising at their so-called something to consider you felt her hand on your shoulder, telling you to relax. No luck for her, never any luck for her, your caring daughter your sick little love. You pushed her off and screaming at him your idiot doctor, you replaced him with another who would work with your security teams until there was no more something to consider. But still how can you be safe with this fake part controlling it all, beating too fast then straining then speeding till the soreness comes. In the hands of the wrong doctor, some infiltrated man working for your enemies, the artifice would speed until it never beat again. Feeling your scars you tell yourself just lie down, put the notebook down, this editorial isn’t going to happen today. You’ll see her with white freckled body greasy with lotion, her business clothes neatly folded on the bedside table like her childhood laundry, and after it’s over you’ll tell her the editorial didn’t happen, she’ll just have to write it herself. You’ll put your name down but she’ll have to write it. We aren’t the vigorous healthy young men we were. Decrepit we inch along despite the threats, until our new parts come in.

 

~ ~ ~

 

Finding your notes the desiccated queen your wife said it was time for a break from McLean, better to be in Jackson Hole and away from her. Even for Christmas she said I don’t want her around, her own daughter. Saying goodbye to her your sick little love you felt like you would die. You felt as miserable as it was possible to feel, seeing her turn around and disappear into her house, you wondering when the next time will be, and she wondering who knows what, maybe will he make it back alive, will he die down there in the snow, will he find someone new to suck him to the last drop, will the artificial heart fail. Or maybe none of these, maybe only settling down to business, to write that editorial you told her you couldn’t manage, although you’d promised to try again in Jackson Hole. This promised second try the only reason the queen returned your notes, snapping don’t forget them in the limousine again.

But why not forget them in the limousine again. Let the desiccated queen and her spa friends find them, pour over them, every word another heartbeat. Alone in Jackson Hole you live only to write this, now that she is away. Snow falling outside, the ski slopes become perfect white hills like the curves of an ass. Laughing you think of the queen the last time she skied, dressed in a purple and green winter coat and colored ski goggles, like some deranged peacock. At the same time you in your cowboy hat for a moment looking every bit as vigorous and healthy as you were in your first college year. Mouth open, wind rushing in, you happily sped straight into her, her legs flying apart on impact. Screaming she hurtled face forward into the snow, her right leg snapping, old hip breaking. Then lying moaning in the snow, calling you sick, disgusting, wishing you’d die. In a cast back at the house she told you she wouldn’t ski with you anymore, and you shouldn’t ski anymore either. You agreed to the first condition right away and anyway you snapped back at her I don’t like to ski in my condition. What could be done if the heart gave out up there, on a lift? Near the peak by the trees? She said you’re not as sick as you think. No more predictable answer could come from her, who refused to see you in the hospital.

Now the artifice beats slow, happy at the thought that this time there won’t be any skiing. If she doesn’t think you’re sick, then why can’t you get out of bed, why do you throw up the food they give you, why do you spend every night staring at the ceiling, old miserable eyes never closing, as dry and tearless as what’s between the queen’s legs. Your condition deteriorates and there’s no way but to replace the parts. Each time you see the doctor you tell him it’s time to have this part or that part replaced, but they don’t come through. They humor you like you’re an infant or some soft-in-the-head retard who doesn’t know how medicine works. You know more than they do and they know it too, but they want their power over the big vice president.

They tell each other did you see who was in my office today? He comes to see me all the time. They want to see you in pain until the last moment, and only then will they mention that some vigorous and healthy young man died fucking a cow in Kansas and hopefully, if there isn’t too much damage to some of his organs, hopefully, but we’ll have to see. You tell them you want his eyes, how are his kidneys, how is his liver, let’s do a blood transfusion, but they only send you out of the hospital and back to your home to lie dying in bed waiting for the answer.

Tired of waiting, at some point you got in the limousine that was to take the queen to the spa and told her you’d wait in the backseat while she had her treatments. Surprised she said fine, but it won’t be quick and I won’t rush for you. Hearing these words you thought, what would the world say if they saw the headline, former vice president strangles wife to death. Would anyone even be surprised, the way they talk about you? As though you were the devil himself! But she fled the limousine into her spa before you had a chance to reach for her wrinkled gray neck and prove them right. And you, the so-called devil, left alone inside the darkened car, hot air rushing at you from the vents, watched the rest of the old rich hens of Jackson Hole file inside, amble outside, clucking over their nails, their aching unworked backs, magazines held above their heads against the falling snow; meanwhile you here dying, far from the one you love.

           

~ ~ ~

 

They helped you into the bathroom at the spa to vomit your breakfast oatmeal. You resisting, saying it’s over now, there will be no more attacks, still clutching your notes. But no matter how pure you make it, no sugar no syrup no berries says the queen, no juice on the side no yogurt nothing she says, your stomach gives it back up. Here the bathroom is as beautiful as the White House, maybe more, pink and yellow tiles sparkling under your knees as the evil stuff comes up again and again, splashing your cheeks your nose your editorial notes. The artifice speeds away from your retching body, controlled by some infiltrated doctor. One room away the queen is being rubbed, and your first impulse is to vomit louder, do it harder until your eye vessels burst and red surrounds your pale blue eyes. To come out with your eyes full of red, to sneak into the queen’s room stinking of vomit and read your notes to her, to crawl back into the limousine and demand to see the doctor, to have your parts replaced to return to your sick little love free from all this misery; and at your age why not think forever of these ridiculous things.


Eva Richter is a writer, translator, and editor of Spurl Editions. She translated Henri Roorda’s essay My Suicideavailable from Spurl Editions now. Her writing has appeared in Columbia University’s Catch & Release, Asymptote, and other outlets. 

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.