Review: We Come to Our Senses

 

Book by ODIE LINDSEY
Reviewed by JULIA LICHTBLAU

The fifteen stories in Odie Lindsey’s moving first collection, We Come to Our Senses,are war stories—but they feature little combat and no front-line heroics; nor are they of the war-is-hilarious-except-the-killing genre, such as Catch-22 or Fobbit. They’re stories of the PTSD generation, the all-volunteer, gender-integrated, post-don’t-ask-don’t-tell veterans of endless, metastasizing conflicts like Iraq and Afghanistan.

Written in a wry, poetic voice, Lindsey’s stories braid past and present into multiple narrative lines and often surprise us with which comes out on top at the end.

Like Tim O’Brien’s Vietnam War classic, The Things They Carried, Lindsey’s book plumbs the psychic impact of war, but he takes his exploration farther from the battlefield. Many of Lindsey’s characters have no direct military experience, but are wounded by war nonetheless, sometimes fatally.

Review: We Come to Our Senses
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Un Walker en Nuyol

“Exaggerate to exist.”
―W. H. Auden, The Age of Anxiety (1948)

[1] From El Gueto

Friday, January 4th, 1985. It is 7:50 am. The temperature outside is below freezing.

“The city” isn’t altogether alien to me. I have seen it featured in a thousand movies. As a boy I came with my father, a theater actor, to buy Broadway plays. I am familiar with its grammar. Indeed, I make my way through conversations, although, in all honesty, my English is still precarious.

This time around, though, I am alone and I am learning to cope with it. I barely have any money. The $67-a-week I make shelving books at a local library are barely enough. Collect calls are expensive. I used to write long letters while I lived in the Middle East, but I have lost practice. Plus, for now I don’t feel like sharing my thoughts with others.

I have landed in a small apartment on Broadway and 121st Street, next to The Jewish Theological Seminary. They have given me a scholarship to study philosophy. I share the apartment with three other young men, one called Francesco from Italy with a heavy accent, Arno from Canada, and Ritchie from the United States. It has taken us time to get acquainted with one another. I understand what they all tell me, though I am at a loss every third or fourth word, especially with Arno’s lingo. He speaks fast and uses strange words. He says I talk English like a “primitive.” Franco’s syntax isn’t good either. His accent is heavy. He helps me when I fumble.

Un Walker en Nuyol
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Language Ceases to Fail: An Interview with Helen Phillips

HILARY LEICHTER interviews HELEN PHILLIPS

Helen Phillips was born and raised in Colorado. She is the author of four books, most recently the short story collection Some Possible Solutions. Her novel The Beautiful Bureaucrat was a New York Times Notable Book of 2015, and a finalist for the NYPL Young Lions Award and the Los Angeles Times Book Prize. Her collection And Yet They Were Happy was named a notable collection by The Story Prize. Helen has received numerous awards, including a Rona Jaffe Foundation Writer’s Award, the Italo Calvino Prize in Fabulist Fiction, The Iowa Review Nonfiction Award, the DIAGRAM Innovative Fiction Award, and a Ucross Foundation residency. She is an assistant professor at Brooklyn College.

Language Ceases to Fail: An Interview with Helen Phillips
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Grands Travaux

I’m at an arts center in Brussels, waiting to see a movie and trying to look Belgian. Or at least not American. Or at least not like an American who’s here without purpose, floating through this city for a few days because, for the first time in many years, she happens to be in Europe. Because I know almost nothing about actually beingBelgian, though, my strategy is basically just to look bored. As if, like the other theatergoers, I’m here simply to support the arts festival that’s taking place, not cataloguing the hip crowd of people chattering around me in French and Dutch, nor analyzing their sensibly edgy way of dressing, nor contemplating the drizzling rain outside the wall of windows that covers the tourist pubs and designer clothing boutiques with a faint gray haze. As if everything is vaguely pleasing but ordinary. There’s something childlike both in my desire to hide and the belief that it is necessary and possible to do so, and I find myself wondering if the skittishness that comes over me when I travel is a version of what everyone feels when she is alone and in a foreign place, or if this feeling speaks to some larger weakness specific to me.

Grands Travaux
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Friday Reads: July 2016

By SARAH WHELAN, FLAVIA MARTINEZ, JACKSON TRICEOLIVIA WOLFGANG-SMITH

 

This July, join our summer staff in going deep with your beach reading. We’re taking on ambitious projects: books that span lifetimes, begin series, and jump between planes of existence. Here are novels for your existential angst, elegies for your crises of purpose, works to help you through your election-related anxiety—what better time than summer to disappear into a world that could take over your mental world for perhaps thousands of pages, letting you take on life’s most daunting questions?

 

Recommended:

A Handful of Dust by Evelyn Waugh, My Struggle: Book I by Karl Ove Knausgaard, The Duino Elegies by Rainer Maria Rilke, My Brilliant Friend by Elena Ferrante

Friday Reads: July 2016
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National Endowment for the Arts Awards $10,000 to The Common

Art Works logo arts.gov

Amherst, MA. Dec. 8, 2015—For the second year in a row, The Common literary magazine has been awarded an Art Works Grant of $10,000 from the National Endowment for the Arts. Based at Amherst College, The Common is one of 80 organizations across the country to receive an NEA Literature grant in 2015. The NEA funds will be matched by $20,000 from Amherst College and support:

  • A special issue of contemporary Arabic fiction, Tajdeed (Renewal), to be published in April 2016
  • The Common in the Classroom, an educational outreach program providing resources for educators to bring the magazine’s diverse, place-based literature into classrooms across the country
National Endowment for the Arts Awards $10,000 to The Common
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