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If you need to be mean
be mean to me
I can take it and put it inside of me
-Mitski, “I Don’t Smoke

I have a picture of us from when we were ten years old — Rose, Audrey, Sam, and me. We’re standing on the gravel shoulder of the highway that cuts across our hometown like a life line across a palm. Our arms are wrapped around each other, affectionate and possessive with the weight of preteen desires. Have you noticed the way young girls cling to each other in photographs? Maybe we knew then the terrible possibilities of separation. If we hadn’t held on to each other so tightly through childhood, how would things have ended?

That was all before we grew apart. That was before I hopped on a plane, before Rose came to meet me, before we ended up in the mountains of Italy, alone in a 300-year-old farmhouse. That was when we still lived in our small universe of Halfmoon Bay, in homes secluded from the highway by long gravel driveways and undisturbed forest. What would have happened if the ghost had shown up then, when we were still so connected, instead of a decade later, across the world when there were just two of us in the middle of the night? More… “Gone Ghost”

Gena Ellett’s writing has appeared in literary magazines across North America, including Slice, The Malahat Review, EVENT, and Gulf Coast. She lives and writes in Vancouver, BC. @HeyGenaJay

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The skeleton of a young girl: This is the first thing to seize my eye as I enter the cemetery of the Capuchin monastery in Rome. Mounted at the vault’s center and framed by four elliptical rings of vertebrae, she holds in her right hand a scythe made of tibias and pelvic fragments; in her left hand, she holds a balance, also made of human bones. The shadowed hollows of her eye sockets, rather than conveying blindness, ceaselessly drink the late-morning sunlight that pours through the windows.

It is some time before I notice the other two child skeletons on the back wall, perched, legs dangling, on a mantle of scapulae. They are bookended by two hourglasses: counterpoised coccyx, their holes giving from a distance the impression of mottled sand. Each hourglass has a pair of scapula wings, as does the disembodied skull floating between the children.

I see these things and I do not see them. To focus on any one object takes considerable effort. My eyes are always being drawn to some new detail — a femur that seems a darker umber than the hundreds of others stacked along the walls, the wooden crosses that mark graves in the crypt’s dirt floor, the distinctive “cappuccino” brown of a monk’s habit, that same monk’s mummified flesh, his collapsed nostrils, his curled parchment lips — and to the overpowering sum of all details, this precise chaos that tempts me to close my eyes, rinse them in darkness. More… “Graffiti These Bones”

Justin Lee teaches in the Composition Department at UC Irvine, where he earned an MFA in Creative Writing in 2014. His fiction and nonfiction have appeared (or are forthcoming) in Vice, First Things, the Los Angeles Review of Books, ABC’s Religion and Ethics, Amazon’s Day One, FLAUNT Magazine, Juked, Gargoyle Magazine, Arc Digital, and elsewhere. In 2016, he received an Emerging Writers Grant from the Elizabeth George Foundation. Their generosity enabled him to complete his first novel, Lightless Lands, which is currently seeking a home.

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I do not say that the novel must be, or more often than not is, political. But where there are characters, the political may be found. A writer chooses to accent, plunge into, or ignore the political, but characters insist upon liking or disliking something that is happening or has happened or may happen. In short, every character has an opinion, whether he cares about it or not.
More… “Novel Politics”

Kelly Cherry‘s new poetry book is Quartet for J. Robert Oppenheimer. Her book of flash fiction titled Temporium is now available.

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On a humid day in early October, I walked from the Ponte Sisto to the Ponte Mazzini. The river was flowing on my right and the progress of Western European culture, from a Roman point of view, was turning into illustrations on my left. I had been in Rome for three weeks and had briefly seen the illustrations, a range of military and cultural imagery, including generals, a recurring angel, victims and perpetrators of violence, mythological agents, and occasionally the general populace. But now I was set to walk the half-kilometer extent of William Kentridge’s monumental set of drawings and parse as best as I could what these 80 figures spelled out. The title, Triumphs and Laments, gave a broad context, and for an admirer of Kentridge’s work, this was a veritable feast. Along with such admiration, there were bound to be questions of technique, archival recovery, historical meanings, and artistic daring. More… “The Gravity of Graffiti”

Charles Molesworth has published a number of books on modern literature. His most recent book is The Capitalist and the Critic: J.P. Morgan, Roger Fry and the Metropolitan Museum of Art (U. of Texas).

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Mary Beard is a classics professor at University of Cambridge. Her books have covered everything from ancient art to Roman laughter. Her honors include a National Book Critics Circle Award. She is a public intellectual in the old-school sense of narrating BBC specials, as well as adding a contemporary twist with an active Twitter account and a blog. Her most recent book SPQR: A history of Ancient Rome was published earlier this year. The Smart Set editor Richard Abowitz reached Beard for this interview by phone in her hotel room in Philadelphia, where she was scheduled to make an appearance at the Free Library of Philadelphia later in the evening. The interview has been lightly edited for length and clarity.

TSS: Let me start by asking about one of the many Roman oddities: for people that were so concerned with their genealogy — so obsessed, as you point out, that they would put great effort to fabricate it back to the founders of Rome and mythic kings — they seemed remarkably willing to accept outsiders as Romans and as emperors and as consuls.
More… “When In Rome”

Richard Abowitz is the editor of The Smart Set. Get in touch at rabowitz@drexel.edu.

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“Thou has conquered, O pale Galilean; the world has grown grey from thy breath; We have drunken of things Lethean, and fed on the fullness of death.”

Algernon Charles Swinburne wrote those lines in 1866 in “Hymn to Proserpine.” If he returned from the Elysian Fields today, he would see no reason to alter his conclusion. Flipping through the channels of cable television, Swinburne would find the TV series “A.D.” (about early Christianity), “Killing Jesus” (based on the Bill O’Reilly book) and dozens of cheaply-produced shows about the supposed historical or scientific basis of this or that tale in the Bible. The Weather Channel has run a program entitled “Top 10: Bible Weather,” described thus: “Weather stories from the Bible are compared to modern-day weather catastrophes.”
More… “Who the @#$% is Proserpine?”

Michael Lind is a contributing writer of The Smart Set, a fellow at New America in Washington, D.C., and author of Land of Promise: An Economic History of the United States.

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In one of the most famous political cartoons of the 1830s, President Andrew Jackson stands in the pose of a triumphant Roman emperor below the soaring Roman columns of his mansion, the Hermitage. He unfurls a decree, indicating his order to withdraw U.S. Treasury funds from the Bank of the United States (B.U.S.), the nation’s central bank. Jupiter’s thunderbolts emanating from the scroll zap the Greek Doric columns of the Bank, knocking it and the Bank’s president Nicholas Biddle, a noted Grecophile, to the ground.

The politician Charles Ingersoll likened Biddle’s fate at the hands of Jackson to Acteon, an unwitting victim of Greek mythology, ripped apart by “dogs” who, in better days for the Bank, “licked his hands and fawned on his footsteps.” In other cartoons during the period of the Bank War, as the fight over the political and economic role of the central bank came to… More…

If Hollywood epics have taught us anything about the ancient world, it’s that Queen Cleopatra VII of Egypt was drop-dead gorgeous. The original femme fatale has only been played by sultry screen goddesses — Claudette Colbert, Vivian Leigh, Elizabeth Taylor. But just how beautiful was she? According to the ancient biographer Plutarch, men were hypnotized not by Cleopatra’s looks but by her wit and charm: Her beauty was “not of the incomparable kind that would astonish everyone who saw her,” he wrote, “but her conversation was irresistibly fascinating, and her character utterly mesmerizing.”  She certainly knew how to make a memorable entrance: To meet Mark Anthony on the modern-day coast of Turkey, she arrived in a luxurious gondola dressed as Aphrodite and reclining on a gold bed as naked slaves fanned her with feathers. (The ancients did not share our sense of privacy; the minions would have kept fanning while… More…

Dinner parties are often about power. A host can lord over his captive guests, so many have been the setting for cruel practical jokes.

Around 90 A.D., the twisted Emperor Domitian invited a crowd of aristocratic couples to a banquet at his palace on the Palatine Hill. When they arrived at the palace, the guests were ushered into a room that was decorated entirely in black — black marble, black paint, and black velvet drapes, lit only by flickering funeral lamps. Each guest’s place was marked with a gravestone engraved with his or her name, and instead of the customary soft couches, they reclined on rock-hard benches. The terrified guests assumed they were about to be murdered by the emperor — a… More…

Our modern passion for marking anniversaries can be traced back to the ancient Etruscans, whose belief in the cosmic significance of historical cycles was absorbed by the Romans. According to their augurs, every 110 years — then the maximum possible length of a human life — formed a distinct historical epoch called a saeculum, represented by its own metal (the golden age was best, silver second best…) and ruled by its own astrological power. Overall, history went in 10-saeculum cycles from glory to decadence to disaster to renewal and back again, ad infinitum, echoing the eternal movements of the seasons themselves. The turning of each cycle was marked with a festival or religious rite. Naturally, this emphasis on dates and cycles provoked an artificial self-awareness at key transitional moments — the Roman millennium of 248 A.D. being one extreme case, and the New Year’s Eve party of 1999 A.D. being… More…