Updike’s complaint: Gay fiction – and what belongs to us

January 31, 2016

Aaron Hamburger, the short story writer and novelist, begins his laudatory review of Garth Greenwell’s “rich, important” debut novel “What Belongs To You” in the Jan. 31 edition of The New York Times Book Review by indulging in a remembrance of a review past.

He recalls John Updike’s 1999 New Yorker piece on Alan Hollinghurst’s novel “The Spell,” in which Updike – who wrote many sexy novels – complained that Hollinghurst’s “relentlessly gay” fiction bored him because “nothing is at stake but self-gratification.” “What Belongs To You,” Hamburger writes, provides the “ringing” retort to Updike’s complaint.

I suspect that Updike may have been not only bored, though, but frightened and even repulsed. For gay fiction, like gay sex, presupposes the male as love object. And that might’ve been an uncomfortable exploration for the alpha male who wrote the “Rabbit” series and “The Witches of Eastwick.” ...

Sister acts: The beauty trap, continued

January 11, 2016

At first glance, Carrie Fisher, a contemporary actress and author, and St. Teresa of Ávila, a 17th century philosopher, abbess and mystic, wouldn’t appear to have much in common (even though Fisher was reportedly a script doctor on “Sister Act”).

But the two both wound up in the particularly meaty Jan. 10 edition of The New York Times’ Week in Review as unwitting examples of how far women still have to go when it comes to being defined by men, particularly where their looks are concerned.

Fisher, who reprises her role as Princess Leia in “Star Wars: The Force Awakens,” found herself embroiled in an Internet brouhaha in which posters were unable to forgive the princess for aging – as if the Web were a particularly petulant Peter Pan. This prompted novelist Jennifer Weiner to write a piece in which she opined that we all need to let it go, including that endlessly self-improving Weight Watchers’ investor, Oprah. ...

Greek to us: ‘Power and Pathos’ at the National Gallery of Art

December 29, 2015

One of my – and my family’s – Christmas gifts to myself was a trip to “Power and Pathos: Bronze Sculpture of the Hellenistic World,” which is at the National Gallery of Art through March 20.

For me, an amateur classicist whose love of Greco-Roman culture threads all of my writing, “Power and Pathos” in Washington was something of a Holy Grail. It originated at the J. Paul Getty Museum in Los Angeles – one of two big shows on the ancient Greeks to appear this year, the other being “The Body Beautiful in Ancient Greece” at the British Museum.

But neither London nor Los Angeles was in my game plan and when my annual Christmas trip to Washington arrived, so did my moment.

That moment didn’t disappoint, for no sooner did my photographing nephew and I enter the exhibit than we encountered “Alexander the Great on Horseback,” a small first century B.C. silver-inlaid bronze replica of the bronze original by Lysippos, the only artist allowed to capture Alexander’s likeness besides the painter Apelles and the gem-carver Pyrgoteles. The backdrop for this equestrian statue is a reproduced portion of “The Alexander Mosaic” (circa 100 B.C.), depicting the Greco-Macedonian conqueror’s defeat of the Persian emperor Darius III at the Battle of Issus. (Both works are in the Museo Archeologico Nazionale in Naples.) ...

A classical Christmas

December 24, 2015

At Christmastide, I like to share one of my traditions, which is a reading of a selection from John Milton’s “Hymn on the Morning of Christ’s Nativity.” As a classical Christian – I know, an oxymoron – I’m always struck by how the advent of Christianity sounded a death knell for Greco-Roman culture. But then, someone’s sunrise is always someone else’s sunset.

Yet Greco-Roman culture – with its sensual tales of gods and heroes, its dramas on the terrible wonder of the human condition, its emphasis on the body in all its brutal beauty – never died. (It’s a theme of Gore Vidal’s 1964 novel “Julian,” about the post-Christian Roman emperor who attempted to reinstall the Greco-Roman pantheon.) The Greeks would instead resurface in the Renaissance and at the turn of the 19th century. ...

‘The Danish Girl’ and the transit of gender

December 17, 2015

The acclaimed new movie “The Danish Girl” – about the artist Einar Wegener, who became the first person to have male-to-female sex reassignment surgery – raises intriguing questions about the nature of art.

Specifically, should a transgender role be played by a transgender actor? (The film stars Eddie Redmayne, who won an Oscar for his performance as Stephen Hawking in “The Theory of Everything” and has been nominated once again for a Golden Globe and a Screen Actors Guild Award for “Girl.”) More broadly, should creative and interpretive artists stick to their own experiences? The latter is a question that I have a vested interest in as the author of the debut novel “Water Music,” about four gay athletes and how their professional rivalries color their personal relationships with one another, and the forthcoming “The Penalty for Holding,” about a gay, biracial quarterback’s search for identity, success, acceptance and love in the NFL. (They’re both part of my series “The Games Men Play.”)

What, I’m often asked, would a woman – and a straight one at that – know about gay sex? ...

Pirelli captures the total woman

December 7, 2015

First it was Playboy doing away with nude pinups. Now the 2016 Pirelli calendar has eschewed the naked ladies – well, mostly – for something different, courtesy of photographer Annie Leibovitz.

Think Patti Smith as imagined by John Singer Sargent, Fran Lebowitz as a latter-day Georges Sand and model Natalia Vodianova with her youngest in a pose that despite her bare leggy-ness echoes a Raphael Madonna and Child.

Besides Vodianova, other examples of fleshiness are a topless Serena Williams, back to the camera in a heroic lunge; and Amy Schumer in panties and heels, comfortable with her stomach rolls as she holds a paper cup. ...