SEWANEE REVIEW最新文献_第2页

One More Loca: On Pedro Lemebel 多一个本地人：关于佩德罗-莱梅贝尔

4区文学

SEWANEE REVIEW Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934401

Lily Meyer

{"title":"One More Loca: On Pedro Lemebel","authors":"Lily Meyer","doi":"10.1353/sew.2024.a934401","DOIUrl":"https://doi.org/10.1353/sew.2024.a934401","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> One More Loca:On Pedro Lemebel </li> <li> Lily Meyer (bio) </li> </ul> A Last Supper of Queer Apostles: Selected Essays by Pedro Lemebel, translated by Gwendolyn Harper ( Penguin Classics 2024) In 1994, the queer Chilean writer and performance artist Pedro Lemebel visited New York—\"all-expenses-paid,\" he notes in his sharp-tongued travelogue \"New York Chronicles (Stonewall Inn)\"—to commemorate the twenty-fifth anniversary of the Stonewall riots. He didn't enjoy the trip. In Chile, Lemebel was nothing if not visible; he was, indeed, committed to visibility, in more ways than one. In his poem \"Manifesto (I Speak from My Difference),\" which he first read, in heels, in front of a crowd gathered to protest the brutal right-wing regime that ruled Chile from 1973 to 1990, he announces, \"I am not a faggot masking as a poet / I need no mask / Here is my face.\" But in gay Greenwich Village, surrounded by \"two tons of muscles and bodybuilders in minishorts,\" Lemebel felt unseen and unwelcomed, despite having dragged his \"third-world malnourished loca body all the way here.\" [End Page 493] (We're going to come back to that loca.) All the macho, military-styled men on Christopher Street reminded him of the \"fascist brutality\" he'd endured for so long. Maybe, he thought as he walked through the Village, the gay history he'd traveled up the spine of the Americas to celebrate wasn't truly meant to include him; \"maybe,\" he wrote, \"gay is white.\" \"New York Chronicles (Stonewall Inn)\" appears in A Last Supper of Queer Apostles, a Greatest Hits-type collection of Lemebel's crónicas arranged and translated by Gwendolyn Harper. In Spanish-language writing, the crónica—a lightly journalistic form of short nonfiction that lends itself well to play and hybridity—is common; in English, we have neither crónicas nor a name for them, which impoverishes our literature. We could call them essays, and sometimes do, but in essays, writers often wander and ponder. A crónica is more like a snatch and grab. It's a form beautifully suited to Lemebel, who spent the Pinochet dictatorship staging three-minute \"flash actions\" in protest and whose writing leaps from slang to poetry, filth to beauty so quickly it collapses any distinction between them. A couple of notes on slang and language here. Chilean Spanish is ferociously slangy, and Lemebel's writing is very Chilean. It's also very queer. His gay language has nothing to do with that of Christopher Street; his world, in the 1980s, was not one of clones but of travestis and locas, terms Harper preserves in Spanish. Travesti, a collapsed version of transvéstita, refers broadly to a trans female identity not associated with medical transition; loca is roughly the same, though you could also read ","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141969053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Contributors 贡献者

4区文学

SEWANEE REVIEW Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934392

{"title":"Contributors","authors":"","doi":"10.1353/sew.2024.a934392","DOIUrl":"https://doi.org/10.1353/sew.2024.a934392","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Contributors </li> </ul> Hannah Bonner's criticism has appeared in Cleveland Review of Books, Literary Hub, the Los Angeles Review of Books, and elsewhere. Her first collection of poetry, Another Woman, is forthcoming in 2024. She lives in Iowa. Chase Culler is a writing teacher and bookseller in Boston. He's held fellowship positions with his two writing mentors Allan Gurganus and Clyde Edgerton. His work appears in Joyland. Born in rural Tennessee in 1939, William Gay began writing at age fifteen and wrote his first novel at age twenty-five, but didn't begin publishing until well into his fifties. He worked as a TV salesman, in local factories, did construction, hung sheetrock, and painted houses to support himself. His works include The Long Home, Provinces of Night, Fugitives of the Heart, Stoneburner, The Lost Country, and four collections of short stories. His work has twice been adapted for the screen. He died in 2012. Urvi Kumbhat is a writer from Calcutta. She is currently a PhD student in English at Princeton University. Her work has appeared or is forthcoming in Kenyon Review, AGNI, Gulf Coast, Protean Mag, and elsewhere. Jami Nakamura Lin is the author of the illustrated speculative memoir The Night Parade (Mariner Books/HarperCollins), a Vulture/New York Magazine Top Ten Memoir of 2023. Her work has appeared in the New York Times, Passages North, and many other publications. Eduardo Martínez-Leyva was born in El Paso, Texas, to Mexican immigrants. His work has appeared in Poetry, the Boston Review, the Adroit Journal, Best New Poets, and elsewhere. His debut poetry collection, Cowboy Park, won the 2024 Felix Pollak Prize in Poetry and is forthcoming from the University of Wisconsin Press. Caitlin McCormick is a writer who lives in New York by way of Arizona. Her work has been supported by the Kenyon Review, the University of Iowa, Fractured Lit Magazine, and the Axinn Foundation. Her writing has appeared in the New York Times and Joyland. Lily Meyer is a translator, critic, and the author of the novel Short War. A contributing writer at the Atlantic, her translations include Claudia Ulloa Donoso's story collections Little Bird and Ice for Martians. Her novel The End of Romance is forthcoming from Viking. Matthew Nienow is the author of House of Water and If Nothing, both from Alice James Books. His work has appeared in Gulf Coast, Missouri Review, New England R","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141935373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Last Best Ghost Boy 最后最好的鬼男孩

4区文学

SEWANEE REVIEW Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934397

Jami Nakamura Lin

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引用次数: 0

Submersions 淹没

4区文学

SEWANEE REVIEW Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934398

Jasmin Sandelson

{"title":"Submersions","authors":"Jasmin Sandelson","doi":"10.1353/sew.2024.a934398","DOIUrl":"https://doi.org/10.1353/sew.2024.a934398","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Submersions </li> <li> Jasmin Sandelson (bio) </li> </ul> A massage therapist I see a few times a year settles me face down, tucks a towel into my underwear. With firm hands, she thumbs my neck, shoulders, hips. \"Usually,\" she says, \"your shoulders are tight. But today, your hips. Why?\" My shoulders get tight because childhood gymnastics left my spine flexible but weak, over time causing crystals of lactic acid to calcify around my scapulae. They also get tight because I hike them, unthinkingly, bracing against nothing. \"My hips?\" I say, my face squished by the cradle. \"I don't know.\" But I do know. I recall lying beneath N, my thighs wide open around her body. With excruciating exactitude, the massage therapist elbows my glutes. When I grimace, she chuckles. Then she bends so close I feel her lips by my ears. \"Good girl,\" she whispers. [End Page 428] <h2>_______</h2> Later, I tell N about the massage. We're in bed, heads sharing a pillow the yellow of dandelions. \"Wow,\" N laughs. \"That masseuse is a bit of a domme, huh? You know, since I started doing kink, I see power everywhere. Little moments of body language or eye contact.\" \"It's like Foucault's idea, the microphysics of power,\" I say. She props herself on her elbow, kisses me. \"I like that,\" she says. \"Tell me more.\" \"Just that power isn't like, top-down—rulers and subjects. It's diffuse, it's in relationships.\" <h2>_______</h2> \"Been dating?\" a friend asks me at brunch. \"I've been seeing someone,\" I smile. \"A poet. But she's only here on sabbatical.\" \"Show me,\" my friend says, and I flash a photo from the dating app where we met. \"A hot butch in a button-down,\" they say, grinning. \"Does she just top the fuck out of you?\" I laugh. She does, but we, too, have microphysics. N, who is ten years older than me, has a house and a tenure-track job. N wears the strap and wields the crop. But she's shorter than me and softer-spoken and also has smaller hands—although her hands, as I told her one morning, our fingers twined, are just the right size. I stared into her eyes as I said so, and the insinuation—all knuckled bliss—or the memory, made her look away, and my power to do that, to fluster her, too, is part of what lets me yield. [End Page 429] <h2>_______</h2> On the subway, I reread texts from N. I do this to distract myself as I pass through the tunnel, the long stretch between Brooklyn and Manhattan, which I fear so intensely that increasingly, I avoid the 4 train, though it is the line nearest my apartment. I avoid the 4 because its underwater crossing lasts three minutes and forty-five seconds—to the A's two minutes and the F's ninety seconds—and also because it was an over","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141935380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Domme Song 7 多姆姆之歌 7

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926967

Michael Robbins

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引用次数: 0

Still Life With Sky, Coffee, Tulips, Anna Karenina, and God 有天空、咖啡、郁金香、安娜-卡列尼娜和上帝的静物画

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926962

Shannon Pratson

{"title":"Still Life With Sky, Coffee, Tulips, Anna Karenina, and God","authors":"Shannon Pratson","doi":"10.1353/sew.2024.a926962","DOIUrl":"https://doi.org/10.1353/sew.2024.a926962","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Still Life With Sky, Coffee, Tulips, Anna Karenina, and God </li> <li> Shannon Pratson (bio) </li> </ul> Grocery store tulips. Empty coffee cupin the sink. Morning sky smearedpink, like the insideof a salmon. I have been lonely in so many citiesand now I am lonely in absenceof the city, the crowd at the Metthat made me small and wholeas a seed. How do other people pray? I pray the way I read Russian novels,get as far as the first chapter. I go: Ahem! and then Please, God—and that’s about it. I hope that hopeis enough. [End Page 278] I think a lot of peoplehave wasted a lot of timetrying to please God,that this is because peoplegot a lot of things wrongaround the third century— for starters, that Mary Magdalenewas a prostitute or that it evenmattered. I would rather spend my time learningto make pasta with my hands, growing squashout of the ground, finishingAnna Karenina, than guesswhat God wants.At a bright diner, I drag blueberry pancakethrough maple syrup and tell a friendI would like to be rich and for the rest of the dayI want to take a shower, wash my wordsoff my skin, watch their ink run,commas catchin the drain. I do not need to know what pleases Godto know that wealth and its ruthless pursuitdoes not please God. Just as I know I buy tulips from the grocery storeto stay the feeling of homesicknesseven if I do not knowwhat home looks like. [End Page 279] Shannon Pratson Shannon Pratson is a writer and artist. She holds an MFA from Virginia Tech and lives in London. Copyright © 2024 The University of the South ... ","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140933644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Girabella 吉拉贝拉

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926963

Maeve Barry

{"title":"Girabella","authors":"Maeve Barry","doi":"10.1353/sew.2024.a926963","DOIUrl":"https://doi.org/10.1353/sew.2024.a926963","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Girabella </li> <li> Maeve Barry (bio) </li> </ul> When my school friends play, they pretend to be mothers. I pretend to be God. Or I put a blanket over my head and imagine I birthed His son. I carry plastic babies by their arms like they’re skinned kittens. I never once think about parenting. I think about angels rejoicing. My image emblazoned on hundreds of thousands of gold pendants. Dangled on little girls’ necks, thickly fingered on hairy men’s rosaries. The girls at school do not understand this. I don’t know if Girabella does. She hasn’t really said. She lets me act like God when we play; she has no ideas or opinions about my stories. She just sits there until I say what comes next. I love Girabella because she lets me do what I want with her hair and her face. She wasn’t at all angry when I took my scissors to her hair. My mother was angry about the gold clumps that I sheared, which haven’t grown back. Girabella understands that the choppy haircut was not a result of my lacking ability but my strong sense of what is in fashion. [End Page 280] She just lies there on her side with her new hair on the couch, like the lady in the picture of a painting that hangs above our piano. A harem painting, my dad told me, of a dead-eyed lady. Pale, also on her side, on a red and orange velvety sofa. That’s not what the painting’s about, my mother said, and she is the one who chose and then hung it. She said she and my father like the picture of the painting for different reasons. Really they just say the same reason differently. Girabella is a perfect friend because we are the same height. We don’t waste time standing back-to-back and debating half inches. But she is lighter, so I can lift her. People watch from the sand while I swing Girabella’s legs through the brown water. They watch and they think I am generous. Such a good friend, who is willing to forgo attention. All I want is attention. Why can’t you try acting like Girabella, my mother said one night at dinner. Girabella was quietly sitting at the table. Blankly staring and not eating until she was reminded. I’d been pretty loud—loud like the whole rest of the harem painting, apart from the dead-looking lady—singing a song I’d tried to teach Girabella. She couldn’t master the harmonies, so I sang all the parts, sliding my voice up and down through vocal registers and ending up very loud. I cried when neither my parents nor Girabella clapped at the end. I cried and then, like we always do this summer, me and my mom fought about American Girl dolls. I want one so badly. How can I learn to be God if I don’t hold any sway over the girls of His chosen country? My mother says they are too expensive and that I should learn to be grateful. Some parents of the kids in my class wanted to arm ","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"254 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140933977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

On Get Back 关于 Get Back

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926965

Lorrie Moore

{"title":"On Get Back","authors":"Lorrie Moore","doi":"10.1353/sew.2024.a926965","DOIUrl":"https://doi.org/10.1353/sew.2024.a926965","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> On Get Back </li> <li> Lorrie Moore (bio) </li> </ul> The Beatles: Get Back directed by Peter Jackson (2021) The Lyrics: 1956 to the Present by Paul McCartney, edited by Paul Muldoon (2021) (consulted: Lennon Remembers by Jann S. Wenner; All We Are Saying by David Sheff; Love And Let Die by John Higgs; George Harrison: The Reluctant Beatle by Philip Norman; George Harrison: Living in the Material World directed by Martin Scorsese) Early Beatles songs, when one gives thought to them, are often rockabilly numbers: “Love Me Do” (their first hit) or “I Saw Her Standing There.” While often considered baby boomers, John Lennon and Paul McCartney were of course born earlier than that (part of the mysteriously named “Silent Generation”) and came of age in the 1950s. Their influences were Chuck Berry, Carl Perkins, Little Richard, Jerry Lee Lewis. (According to Jann Wenner, Lennon sometimes claimed that no [End Page 295] song by anyone ever surpassed “Whole Lotta Shakin’ Goin’ On.”) This inspiration is seen repeatedly in the long, amusing breaks John and Paul take in Peter Jackson’s extraordinary 2021 documentary, The Beatles: Get Back, as Lennon and McCartney appear to seek refuge from composing their own material on a brutal deadline (in the winter of 1969 they had less than four weeks to finish a dozen songs for a TV special) and instead begin to horse around, launching merrily into “Blue Suede Shoes,” “Roll Over, Beethoven,” or even “The Harry Lime Theme” from The Third Man. Yet two of the Beatles’ most haunting ballads (a year before the composition of “Yesterday”) were released together early in 1964: “And I Love Her” and “If I Fell.” The former is widely attributed to McCartney (Lennon referred to it as McCartney’s first “Yesterday”) and the latter belongs to Lennon who sings the main melody. (On YouTube one can find a group of mourners at Central Park’s Strawberry Fields all singing “If I Fell” in grieving chorus around Lennon’s memorial.) Listening to the two ballads, one might be forgiven for assuming that they both had the same singularly brilliant composer. Which, in a way, they did. Credited as Lennon-McCartney compositions, as most of the Beatles’ songs were, the sound was indisputably theirs. Both pieces have beautiful switches into open minor chords and a subtle cha-cha meter underneath. They were released on a single forty-five but neither was really a B side, though the B side was dealt to Lennon, the Beatles’ usual practice; McCartney typically had the A side. (George Harrison had the A side once, with “Something,” on a double A release with Lennon-McCartney’s “Come Together,” the latter eventually the target of a lawsuit from Chuck Berry. “Everybody was nicking fr","PeriodicalId":43824,"journal":{"name":"SEWANEE REVIEW","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140933548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

This Sort of Thing: On Heather Lewis's Notice 这种事：关于希瑟-刘易斯的通知

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926966

Hannah Bonner

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The Profoundest Interruption: In Defense of Distraction 最深刻的打断为分心辩护

4区文学

SEWANEE REVIEW Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926969

Caitlin Horrocks

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引用次数: 0