Masha Tupitsyn’s Beauty Talk & Monsters by Jeanine Herman

Part of the Editor's Choice series.

BOMB 100 Summer 2007
100 Summer 2007

Abrons Art Center
Feb 1, 6:30pm

Beauty Talk

Courtesy of MIT Press.

If Art is the sedimented history of human misery, as Adorno said, it can also be the consolation prize for a broken heart. In her debut collection, Masha Tupitsyn is at her best when recalling emotional disaster, and when she aligns herself, to this end, with the strategies of Kathy Acker and Chris Kraus. In the story “Proverbial,” Tupitsyn writes around the italicized words of Jean Rhys (“I think I read that you weren’t even fucking, that you just wanted everyone to think you were. When she looks at herself in the glass, naked, she’s as proud as Lucifer. In the romantic tradition, and very generous. I think you wanted to get in on all the action. I think your face is collapsing … .”) in a technique similar to one employed by Acker (My Mother: Demonology being one example, in which Acker used the writings of Laure, Georges Bataille’s great love, as a starting point). In a similarly potent way, Kraus’s I Love Dickdissected the narrator’s infatuation with a cultural theorist, Dick, creating a fascinating account of romantic obsession, sexual jealousy, and the ego on fire.

In Beauty Talk, too, there is a compelling amalgam of love and theory, movies and demons. These stories read less like short fiction than accounts in which movies mark moments of emotional apex. About Hitchcock’s relationship with his blonde actress: “He switches her on like a porch light over and over again. He loves the clicking sound. In the process, he screens all the brunettes like a phone call he doesn’t want to get.” This book is as much an exegesis of disappointment as of movies, with the solace of a dark theater providing the proper setting for the unreeling of the unconscious, and for looking back at love, lost and found.

Beauty Talk and Monsters came out from MIT Press in May 2007.

There Is Always Anxiety by Masha Tupitsyn
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The Phenomenon of the Opera by Alexander Kluge
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Passion overwhelms comprehension. Comprehension kills passion.

For People Like Us: on Denis Johnson’s The Largesse of the Sea Maiden by Lincoln Michel
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A posthumous collection cements the author’s reputation as a master of the short story.

A Brief History of Feeling by Jacquelyn Ross
Rachel Sussman Poetics Of Space

500 billion years ago—the dark touches itself in the dark and experiences something like ecstasy. Except that ecstasy isn’t a feeling yet—the sensation is just kind of sharp and warm. Afterwards, the dark feels happy and breathless. Afterwards, the dark feels lonely.

Originally published in

BOMB 100, Summer 2007

Featuring interviews with Chuck Close, Kara Walker, Mamma Andersson, Howard Norman, Peter Nadas, Bela Tarr, Benedict Mason, and Kate Valk.

Read the issue
100 Summer 2007