I mentioned this in passing a couple weeks back, but The Paris Review website recently posted Dubrakva Ugresic’s “Assault on the Minibar,” which is one of the many fantastic pieces in her new collection, Karaoke Culture.
A number of sites have been linking to this essay, and I particularly like the summary that The Millions posted:
Anyone who travels a lot will enjoy Dubravka Ugresic‘s essay on hotel minibars. As a matter of fact, just about anyone will enjoy this essay regardless of how often they travel.
Here’s the opening of Dubravka’s attack:
At the reception desk I filled in all the necessary details and got the key. Before I headed off to my room the receptionist asked:
“Would you like to open a hotel account?”
“It means that you don’t have to pay for everything you have or use in the hotel immediately, you just give your account number.”
I declined. What do I want with a hotel account? I’m only here for three days. Breakfast is included, and most of the time I’ll be out and about.
The room was large, luxurious, and had that fresh new smell. The furniture was certainly brand-new, the bathroom enormous, and the heavy windows opened gracefully with the touch of a button.
I hadn’t even gotten around to unpacking my things when I heard a knock at the door.
“Can I help you?” I asked the young porter.
“Sorry, but I have to lock the minibar.”
“Because you didn’t open a hotel account,” he said, before heading for the minibar, locking it, and leaving.
All of a sudden I felt the blade of the invisible sword of injustice pressing on the back of my neck. I don’t even use minibars. Alcohol doesn’t agree with me; I don’t like greasy, stale crisps; I hate any kind of peanuts; candy bars of uncertain origin aren’t my thing; random bottled liquids inevitably give me heartburn; and carbonated, nonalcoholic drinks are just plain bad for your health. The bottom line is that a minibar doesn’t have anything I’d ever want. So why did I feel so humiliated? Just because the bellboy locked the minibar? Did he put a padlock on the shower, the bathroom tap, the TV remote, the toilet seat? He didn’t. Rationalizing it, comforting myself with thoughts of the palatial bed or a hot shower, nothing helped. I was inconsolable. It was just the hopeless sense of deprivation.
For this week’s podcast, Tom and I answered our first mailbag question about literary journals, discussed the old adage that “short stories don’t sell,” and complained about the unbeatable Milwaukee Brewers.Read More...
Interviewer: You write, then—?
Moravia: I write simply to amuse myself; I write to entertain others and—and, well, to express myself. One has one’s own way of expressing oneself, and writing happens to be mine.
Interviewer: By that, you do not consider yourself a moralist, do you?
Moravia: No, I most emphatically do not. Truth and beauty are educatory in themselves. The very fact of representing the left wing, or a “wing” of any sort, implies a partisan position and nonobjectivity. For that reason, one is impotent to criticize in a valid sense. Social criticism must necessarily, and always, be an extremely superficial thing. But don’t misunderstand me. Writers, like all artists, are concerned with representing reality, to create a more absolute and complete reality than reality itself. They must, if they are to accomplish this, assume a moral position, a clearly conceived political, social, and philosophical attitude; in consequence, their beliefs are, of course, going to find their way into their work. What artists believe, however, is of secondary importance, ancillary to the work itself. A writer survives in spite of his beliefs. Lawrence will be read whatever one thinks of his notions on sex. Dante is read in the Soviet Union.
A work of art, on the other hand, has a representative and expressive function. In this representation the author’s ideas, his judgments, the author himself, are engaged with reality. Criticism, thus, is no more than a part, an aspect—a minor aspect—of the whole. I suppose, putting it this way, I am, after all, a moralist to some degree. We all are. You know, sometimes you wake up in the morning in revolt against everything. Nothing seems right. And for that day or so, at least until you get over it, you’re a moralist. Put it this way: every man is a moralist in his own fashion, but he is many other things besides. [. . .]
Interviewer: How do you account for the big empty spaces in the novel tradition of Italy? Could you tell us a little about the novel in Italy?
Moravia: That’s a pretty large question, isn’t it? But I’ll try to answer. I think one could say that Italy has had the novel, way back. When the bourgeois was really bourgeois, in the thirteenth and fourteenth centuries, narrative was fully developed (remember that all that painting was narrative too) but since the Counter-Reformation, Italian society doesn’t like to look at itself in a mirror. The main bulk of narrative literature is, after all, criticism in one form or another. In Italy when they say something is beautiful that’s the last word: Italians prefer beauty to truth. The art of the novel, too, is connected with the growth and development of the European bourgeoisie. Italy hasn’t yet achieved a modern bourgeoisie. Italy is really a very old country; in some ways it looks new because it’s so old. Culturally, now, it follows the rest of Europe: does what the others do, but later. Another thing—in our literary history, there are great writers—titans—but no middle-sized ones. Petrarch wrote in the fourteenth century, then for four centuries everybody imitated him. Boccaccio completely exhausted the possibilities of the Italian short story in the fourteenth century. Our golden centuries were then, our literary language existed then, had crystallized. England and France had their golden centuries much later. Take, for example, Dante. Dante wrote a pure Italian, is still perfectly understandable. But his contemporary Chaucer wrote in a developing tongue: today he must be practically translated for the modern reader. That’s why most modern Italian writers are not very Italian, and must look abroad for their masters: because their tradition is so far back there, is really medieval. In the last ten years, they’ve looked to America for their masters.
Click here to read the full interview.
As announced on their site the next issue of The Paris Review includes the first part of The Third Reich, Roberto Bolano’s “lost” novel (due out next year), which will be serialized over all four 2011 issues.
Spring is almost here1—and so is our spring issue! It’s an especially exciting one: We will be publishing Roberto Bolaño’s _The Third Reich_—our first serialized novel in forty years—with original illustrations by Leanne Shapton.
This is a first edition like none other—a collector’s item, and a chance to discover Bolaño’s famous lost novel almost a year before it appears in book form. For those of you who aren’t subscribers, we are offering a celebratory discount subscription (25% off the cover price domestically; offer good until March 15). Your subscription will also bring you new work by Lydia Davis, David Gates, and Jonathan Lethem, as well as interviews with Samuel R. Delany, Bret Easton Ellis, Yusef Komunyakaa, and much more . . .
This is a guarantee to up subscriptions to The Paris Review, and a pretty logical move considering the fact that PR publisher, Lorin Stein, was responsible for doing both 2666 and The Savage Detectives when he was at FSG.
$30 for is a decent price for 4 issues and the whole of The Third Reich, and as soon as that tax money arrives . . .
1 The “feels like” temperature in Rochester was -5 when I left for work this morning. “Almost,” my ass.
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
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