Whenever I think of the circus (which, admittedly, is rarely), the first thing that comes to mind is Bruce Davidson's famous photograph of a forlorn clown smoking a cigarette and clutching a fistful of wilted flowers in the mud outside a ratty circus tent. Fittingly, I first saw this striking image on the cover of Heinrich Boll's 1963 novel, The Clown. The titular protagonist isn't the creepy backyard children's entertainer we've come to associate with the form. He's troubled and high-strung, and sees himself first and foremost as an artist — and something of a mystic, to boot.
This is not the first time Pakistani author Mohsin Hamid has taken a risky approach to a novel. His The Reluctant Fundamentalist was written entirely in the second person. The bearded narrator of that book sits at a tea stall in Lahore, talking about his drift toward extremism while directly addressing "you," the reader, who is taken to be an increasingly jumpy and terrified American across the table.
Mohsin Hamid's newest novel, How to Get Filthy Rich in Rising Asia, takes its structure from the genre of self-help tutorials. Chapter 1: Move to the City. Chapter 2: Get an Education. Chapter 3: Don't Fall in Love (the book's nameless protagonist, who transforms from rural peasant to corporate tycoon, fails to follow this last directive). After all, the dogged pursuit of success doesn't happen in a vacuum.
Originally published on Wed March 6, 2013 11:42 am
I've always thought caraway to be an underappreciated spice. It holds none of the historical significance of cinnamon, cloves, pepper or other prized spices that for centuries drove commerce among Asia, Africa and Europe (and that ultimately led to the discovery of the Americas).
In flavor, it lacks the Mediterranean perfume of its cousin fennel or the allure of cumin, another close relative. Its aroma is sharp and slightly aggressive, and if you bite into a seed on its own, there is, at first, a certain soapiness to its flavor.
Twenty years ago, theatrical clowns Bill Irwin and David Shiner collaborated on a Broadway show called Fool Moon — a giddy mixture of slapstick, improv and audience participation that proved such a success that it came back to Broadway for two more runs and toured both the U.S. and Europe. Now Irwin and Shiner have put together a new show called Old Hats, and it's been receiving rave reviews off-Broadway.
Irwin and Shiner's rubber-faced, loose-bodied clowning hasn't gotten easier over two decades.