#sarah nicole prickett

[iheartliquor]

“I wish I was dead already,” she says in an interview, and we (the media) freak. “I wish I was dead,” she sang on “Dark Paradise,” on Born to Die, and we didn’t freak at all. That was already two years ago. We either did not hear or did not take seriously the lyric, or else we failed to believe she had written it, assumed she herself did not believe it. We are trained to think of the pop star’s persona as safely removed from the person, the same way we recast as “fantasy” what we’re afraid to say we really, really want. I too split up most personas, but not Lana’s. Instead I think, what if Lana did fuck her way to the top? What if she was hit? What if she liked it? What if her pussy tastes exactly like cola? And if all she wants is dope and diamonds, so what? What if the most radical—fuck it, feminist—thing you can do is believe everything a girl says about her life, whether or not you like it?

SARAH NICOLE PRICKETT, THE FAKE AS MORE ON LANA DEL REY

[grandhotelabyss]

I know that you're probably not the person to ask, but then I just don't know who would be... Why doesn't Sarah Nicole Prickett have a book of essays by now? Hasn't she written enough essays to even compile them into a book? Are they not notable enough or penetrating or.... I grew up reading her essays and they led me to a lot of solid literature. I mean some of her stuff seems to be fruity fashion articles I don't care for, but I thought she managed to carry an impeccable level of writing paired with a more-so philosophical mode of thinking into everything she did. I think it's a shame for her to fade.

Maybe it's something specific and unknowable from the outside. It doesn't seem like too many writers from that clique in the New Inquiry to Artforum-Bookforum pipeline did write books. Even the swaggeringly judgmental Lorentzen, to say nothing of the lovingly ambivalent Prickett, has no book. The moment for the specific aesthetic/ideology she was loosely associated with was probably circa 2015-2019, with say The Argonauts and Females as bookends and Jia Tolentino as the pop version, so maybe she missed her window. I agree with you that she was among the best in that milieu, not that I'm an expert. I quoted her admiringly here on Hardwick's Melville-as-heroine, a point she made against the worst of that Millennial leftist nihilism in Kate Zambreno. Though I am ambivalent about cliquish Bookforum, here she is this summer on Jacqueline Rose, whom she seems to prefer to Gillian, not a stance I sympathize with (men! always judging and picking and choosing! what would Simone Weil say?), and I'm already a little sick of the new vogue for psychoanalysis on the socialist left, predictable as it is following their political defeat, as one always needs Freud to explain why Marx doesn't work, and I find the whole framework of the piece a bit, well, sentimental (men!), but she writes well all the same—

Gillian’s death inspired Jacqueline’s publishers to suggest that she might write a memoir of her sister’s life. But a memoir, which would not do justice to the life, didn’t materialize. Neither did the project that Jacqueline proposed in its stead, a book about the Jewish-turned-Christian philosopher, mystic, and martyr Edith Stein. (This is all according to the interview of Rose by the editors of The Jacqueline Rose Reader, published in 2011.) Stein is—has to be—the original name of Stone, the dispossessed and disowning father of Gillian and Jacqueline. And now, a further substitution, Weil for Stein. Simone comes from the Hebrew “Shimon,” meaning “one who hears.” “Weil” as a German word means “because,” but as a surname for Germans it’s said to derive from the Latin “villa,” as in a country house, a family estate. Historians believe that “Weil” was adopted by families originally named “Levi,” a Hebrew word for “joining.” So we are fully back in place, if not time. 

—so maybe she's working away on a magnum opus behind the scenes.

[sapphireshorelines]

I have complicated feelings about wanting to disappear, because I already struggle with feeling invisible, and I know that visibility can be construed as a privilege, but I also never want to be fully seen. I even like, on occasion, to be misheard. What I struggle with more is being misunderstood.

Durga Chew-Bose (x)

[iluvsmokers]

Sarah Nicole Prickett ( @snpsnpsnp ) by Sam Penn

[yorkshireword]

Belief is the least factual and most beautiful thing; as a weekly ritual, so is The Newsroom. Between the centuries-apart goalposts of Nietzsche's "We have art in order not to die of the truth" and Joan Didion's "We tell ourselves stories in order to live," the show scores high. Where it misses is with its intrinsic conflation of art (where McAvoy is the artist, his once-pure aims trampled by Internet traffic, demographics, advertisements, ratings) with the truth itself (he's also the storyteller, but MacHale, the show's bossy conscience, believes his story is the story. "Speaking truth to stupid," she says of her aim).

[bureau-capri]

Durga Chew-Bose: You know when you go to a museum with a friend and it’s understood that you don’t have to stand side by side in front of every canvas? You can move at different speeds, occupy different corners, get separated, and it’s fine and relaxing because somehow when it’s time to leave, you’ll find each other. My favorite type of writing is like that, where it drifts in and out of different rooms, and sometimes ideas get lost or sentences sort of wander or drop off and the meanings and senses of things get separated, but it doesn’t matter. Like how after the museum, you can walk for a few blocks with your friend in silence, not pressed to speak.

– in conversation with Sarah Nicole Prickett

[artbookdap]

Feast your eyes, embrace the excitement of new release 'Alex Da Corte: Mr. Remember,' published on the occasion of the shape-shifting artist’s major recent retrospective at Denmark’s @louisianamuseum ⁠ ⁠ Eye-popping color, uninhibited humor and a sense of playful, therapeutic inquiry combine inside this 320-page clothbound hardcover, foil stamped on the cover with a paperback supplement sewn into what’s already a very generous book. Many excellent texts round out the volume, including several chunks of interviews with the artist. “The need to dress ourselves up is something common like the need to eat,” he says to Louisiana curator @mathiasussingseeberg in one. “There’s a shared blank canvas that we all have in some capacity and when you start adding on things, be it a certain diet or a particular hat, you start changing that canvas. And you can start playing with that. And granted, day-to-day, most people don’t change that game. But they can. And then you understand—as everyone’s shaped differently—what that projection of oneself should be, and you notice it in others. You start wondering whether you have been costumed yourself. Who is reading me, and how am I being read? And how am I reading others? And when you understand that it is just a fresh coat of paint on an old house, you realize you can change. This is a way to say that one can be untethered, if one wants.”⁠ ⁠ Read more about the book via linkinbio.⁠ ⁠ Edited by Lærke Rydal Jørgensen, Mathias Ussing Seeberg, William Pym, Alex Da Corte. Foreword by Poul Erik Tøjner. Text by Bruce Hainley, Delia Solomons, Alex Da Corte, Sarah Nicole Prickett, Steven Zultanski, Derek McCormack, Mathias Ussing Seeberg, William Pym. Interview by Mathias Ussing Seeberg.⁠ ⁠ #alexdacorte #mrremember #alexdacortemrremember @sadiecoleshq⁠ https://www.instagram.com/p/CqQSTXvu7q6/?igshid=NGJjMDIxMWI=

[downsotenderly]

x

[misserinmarie]

The argument about whether it’s narcissistic or whether it’s radical to write about your life as you see it, to write about yourself on your terms, is not as interesting as the art. Chantal Akerman casting herself in her first short film. Barbara Loden directing and starring in Wanda. Francesca Woodman being in all of her photos but you never really know what she looks like. These artists aren’t especially narcissistic or necessarily radical. They’re resourceful. You’re the resource. You don’t cost anything. There’s a low barrier to entry for writing or art about yourself.

Sarah Nicole Prickett 

[womenintranslation]

From the publisher’s newsletter:

"A portrait, in language, of female consciousness, truer than anything written since Sappho's 'Fragment 31.'"—Rachel Kushner, The New Yorker To celebrate the release of our edition of Ingeborg Bachmann's masterpiece, Malina, Hard to Read presents the acclaimed film directed by Werner Schroeter, adapted for the screen by Nobel prize winner Elfriede Jelinek, and starring Isabelle Huppert. Read a review of the film in The New Yorker. MALINA Hosted by Hard to Read Introduced by Rachel Kushner and Sarah Nicole Prickett Now Instant Image Hall > Trailer < When: 8 PM, THIS THURSDAY, August 22nd, 2019 Where: Now Instant Image Hall, 5319 York Boulevard, Los Angeles 90042 Tickets available on site More info

Malina by Ingeborg Bachmann an extensively revised translation by Philip Boehm

"A psychological thriller of a tormented, existential sort. And it’s a love triangle, though a triangle most accurately drawn with dotted lines, given that it’s debatable how many of its members are real....This revised translation appears at a time when the book feels quite contemporary. Though even innovative mainstream fiction now being published reads like 'A Is for Apple' compared to Malina, there’s no question that the book shares a spirit with any and all books about the unsought psychological challenges of being a woman in this world. Lucid and powerful."—John Williams, The New York Times Book Review

[sapphireshorelines]

D: But I’m not trying to build castles in the sky. I wouldn’t know how. I turn inward and find the materials. Also, I want to have a life. I don’t need my life to be adventurous. I want to be in bed by 11.

S: But how is it not ambitious to name your book after a line from Virginia Woolf’s diaries? James Ellroy, in this totally nuts interview I love, talks about how Beethoven is the greatest artist ever in world history. Then he says he relates to Beethoven and, “If you want to identify with a great artist, go right to the top.”

D: Maybe my ambition is secret even to me. I don’t know that I identify with Woolf. I feel . . . connected to Woolf. She writes so much about tiredness. Maybe her tiredness is that she folds into a single day that whole doomed feeling of a life. I trust tired people.

S: And then she went to bed early. I always forget she was fifty-nine and not forty-nine when she committed suicide.

D: A good age to go.

S: Not dramatic. Not a midlife crisis. Kind of like going to bed early when there’s a party at your house.

D: Even less dramatic than that! It’s more like gardening early in the morning and then taking a nap before lunch.

S: Suicide is always a little dramatic.

D: Vita once wrote to Virginia that she missed her “damnably.” How perfect is that?

conversation between Durga Chew-Bose and Sarah Nicole Prickett

[iluvsmokers]

Sarah Nicole Prickett ( @snpsnpsnp ) by Sam Penn

[durgapolashi]

Artforum’s new Editor-in-Chief: David Velasco.

[etimaetteumoh]

“Sarah Nicole Prickett on taking the long road”

[jacobwren]

The art world is the only unregulated market that’s also legal. It’s a great place to hide money. It’s a great place to pretend you’re somebody without having any particular gifts, which means that for people with talent, it’s disheartening a lot of the time. Those who don’t have connections come in thinking they have to play all these games to participate. I’ve often wondered what I’m doing in one of the world’s least meritocratic industries. I’m constantly running into people and wondering how they got where they are, and I’m almost never made happier by the answer.

David Velasco

[hardtoreadings]

Writers and friends Sarah Nicole Prickett and Durga Chew-Bose read in celebration of the release of Chew-Bose's first book Too Much and Not the Mood. An excerpt of the group Q&A follows their readings.

Recorded on 05/15/17 at the Standard Hollywood, this reading was excerpted from a program that also included Aria Dean and Grace Dunham.