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Brian Wilson via Wikimedia Commons // Not Pictured: Thomas Pynchon (obviously)
Brian Wilson via Wikimedia Commons // Not Pictured: Thomas Pynchon (obviously)

Thomas Pynchon and Brian Wilson's Miserable Evening Together

Brian Wilson via Wikimedia Commons // Not Pictured: Thomas Pynchon (obviously)
Brian Wilson via Wikimedia Commons // Not Pictured: Thomas Pynchon (obviously)

Brian Wilson and Thomas Pynchon have more in common than one may immediately think. Both are deeply experimental artists driven further and further away from the public eye—Wilson barely leaving his bedroom for huge swaths of the 1970s, Pynchon more or less successfully shunning the press in the 52 years since the publication of his first novel, V.

Wilson and Pynchon are often referred to as a "voice of their generation," a label they would each likely shirk with vehemence for their own visceral reasons. They both lived or live in California (Pynchon: 1960s to early '70s; Wilson: His entire life) and produced works about the state or set therein (Pynchon: The Crying of Lot 49 and Inherent Vice; Wilson: Pretty much everything except maybe "Salt Lake City"). It was during their overlapping California chronologies that the two spent time together. It was only for an evening, and by all accounts, it was absolutely miserable.

In his infamous 1977 Playboy article “Who Is Thomas Pynchon … And Why Did He Take Off With My Wife?,” writer Jules Siegel relates an amusing story about Pynchon's love of the Beach Boys. The article isn’t available in full online (you can read the first few pages here), but ThomasPynchon.com extracted the relevant passages, which begin with Siegel telling his friend about an assignment to write a profile on Bob Dylan:

"‘You ought to do one on The Beach Boys,’ [Pynchon] said. I pretended to ignore that. A year or so later, I was in Los Angeles again, doing a story for the Post on The Beach Boys [ultimately published by Cheetah magazine]. He had forgotten his earlier remark and was no longer interested in them. I took him to my apartment in Laurel Canyon, got him royally loaded and made him lie down on the floor with a speaker at each ear while I played Pet Sounds, their most interesting and least popular record. It was not then fashionable to take The Beach Boys seriously.

"'Ohhhhh,” he sighed softly with stunned pleasure after the record was done. ‘Now I understand why you are writing a story about them.’"

Siegel wound up introducing Pynchon to Brian Wilson in 1966, the year both The Crying of Lot 49 and Pet Sounds were released. Siegel recalls taking the novelist to Wilson's "Babylonian" Bel-Air mansion. According to that same Playboy article, "Brian then had in his study an Arabian tent made of crimson and purple Persian brocade." Pynchon, Siegel, and Wilson sat together inside the plush tent. For light, Wilson had a lamp that was made from an old parking meter and needed to be fed with pennies for it to work. It kept going off, so he brought in an oil lamp, but the famously nervous musician "kept dropping the oil lamp and stumbling over it." According to Siegel, "Neither he nor Pynchon said anything to each other."

The evening seems straight out of a Pynchon novel—Tyrone Slothrop finding himself inside a pseudo-Arabian Night somewhere in the Zone.

For his 2006 Brian Wilson biography Catch A Wave, Peter Ames talked to Siegel about this painfully awkward meeting. "Brian was kind of afraid of Pynchon, because he’d heard he was an Eastern intellectual establishment genius," Siegel told Ames. "And Pynchon wasn’t very articulate. He was gonna sit there and let you talk while he listened. So neither of them really said a word all night long. It was one of the strangest scenes I’d ever seen in my life."

Two quote-unquote voices of their generation meeting at the peak of their creative powers, sitting in an Arabian tent and not saying a damned word to each other. It's almost perfect.

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15 Powerful Quotes From Margaret Atwood
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MICHAL CIZEK/AFP/Getty Images

It turns out the woman behind such eerily prescient novels as The Handmaid’s Tale and Oryx and Crake is just as wise as her tales are haunting. Here are 15 of the most profound quips from author, activist, and Twitter enthusiast Margaret Atwood, who was born on this day in 1939.

1. On her personal philosophy

 “Optimism means better than reality; pessimism means worse than reality. I’m a realist.”

— From a 2004 interview with The Guardian

2. On the reality of being female

“Men often ask me, Why are your female characters so paranoid? It’s not paranoia. It’s recognition of their situation.”

— From a 1990 interview with The Paris Review

3. On limiting how her politics influence her characters

“You know the myth: Everybody had to fit into Procrustes’ bed and if they didn’t, he either stretched them or cut off their feet. I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain point of view.”

— From a 1997 interview with Mother Jones

4. On so-called “pretty” works of literature

“I don’t know whether there are any really pretty novels … All of the motives a human being may have, which are mixed, that’s the novelists’ material. … We like to think of ourselves as really, really good people. But look in the mirror. Really look. Look at your own mixed motives. And then multiply that.”

— From a 2010 interview with The Progressive

5. On the artist’s relationship with her fans

“The artist doesn’t necessarily communicate. The artist evokes … [It] actually doesn’t matter what I feel. What matters is how the art makes you feel.”

— From a 2004 interview with The Guardian

6. On the challenges of writing non-fiction

“When I was young I believed that ‘nonfiction’ meant ‘true.’ But you read a history written in, say, 1920 and a history of the same events written in 1995 and they’re very different. There may not be one Truth—there may be several truths—but saying that is not to say that reality doesn’t exist.”

— From a 1997 interview with Mother Jones

7. On poetry

“The genesis of a poem for me is usually a cluster of words. The only good metaphor I can think of is a scientific one: dipping a thread into a supersaturated solution to induce crystal formation.”

— From a 1990 interview with The Paris Review

8. On being labeled an icon

“All these things set a standard of behavior that you don’t necessarily wish to live up to. If you’re put on a pedestal you’re supposed to behave like a pedestal type of person. Pedestals actually have a limited circumference. Not much room to move around.”

— From a 2013 interview with The Telegraph

9. On how we’re all born writers

“[Everyone] ‘writes’ in a way; that is, each person has a ‘story’—a personal narrative—which is constantly being replayed, revised, taken apart and put together again. The significant points in this narrative change as a person ages—what may have been tragedy at 20 is seen as comedy or nostalgia at 40.”

— From a 1990 interview with The Paris Review

10. On the oppression at the center of The Handmaid's Tale

“Nothing makes me more nervous than people who say, ‘It can’t happen here. Anything can happen anywhere, given the right circumstances.” 

— From a 2015 lecture to West Point cadets

11. On the discord between men and women

“‘Why do men feel threatened by women?’ I asked a male friend of mine. … ‘They’re afraid women will laugh at them,’ he said. ‘Undercut their world view.’ … Then I asked some women students in a poetry seminar I was giving, ‘Why do women feel threatened by men?’ ‘They’re afraid of being killed,’ they said.”

— From Atwood’s Second Words: Selected Critical Prose, 1960-1982

12. On the challenges of expressing oneself

“All writers feel struck by the limitations of language. All serious writers.”

— From a 1990 interview with The Paris Review

13. On selfies

“I say they should enjoy it while they can. You’ll be happy later to have taken pictures of yourself when you looked good. It’s human nature. And it does no good to puritanically say, ‘Oh, you shouldn’t be doing that,’ because people do.”

— From a 2013 interview with The Telegraph

14. On the value of popular kids' series (à la Harry Potter and Percy Jackson)

"It put a lot of kids onto reading; it made reading cool. I’m sure a lot of later adult book clubs came out of that experience. Let people begin where they are rather than pretending that they’re something else, or feeling that they should be something else."

— From a 2014 interview with The Huffington Post

15. On why even the bleakest post-apocalyptic novels are, deep down, full of hope

“Any novel is hopeful in that it presupposes a reader. It is, actually, a hopeful act just to write anything, really, because you’re assuming that someone will be around to [read] it.”

— From a 2011 interview with The Atlantic 

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China's New Tianjin Binhai Library is Breathtaking—and Full of Fake Books
FRED DUFOUR/AFP/Getty Images
FRED DUFOUR/AFP/Getty Images

A massive new library in Tianjin, China, is gaining international fame among bibliophiles and design buffs alike. As Arch Daily reports, the five-story Tianjin Binhai Library has capacity for more than 1 million books, which visitors can read in a spiraling, modernist auditorium with floor-to-ceiling bookshelves.

Several years ago, municipal officials in Tianjin commissioned a team of Dutch and Japanese architects to design five new buildings, including the library, for a cultural center in the city’s Binhai district. A glass-covered public corridor connects these structures, but the Tianjin Binhai Library is still striking enough to stand out on its own.

The library’s main atrium could be compared to that of the Frank Lloyd Wright-designed Guggenheim Museum in New York City. But there's a catch: Its swirling bookshelves don’t actually hold thousands of books. Look closer, and you’ll notice that the shelves are printed with digital book images. About 200,000 real books are available in other rooms of the library, but the jaw-dropping main room is primarily intended for socialization and reading, according to Mashable.

The “shelves”—some of which can also serve as steps or seating—ascend upward, curving around a giant mirrored sphere. Together, these elements resemble a giant eye, prompting visitors to nickname the attraction “The Eye of Binhai,” reports Newsweek. In addition to its dramatic main auditorium, the 36,000-square-foot library also contains reading rooms, lounge areas, offices, and meeting spaces, and has two rooftop patios.

Following a three-year construction period, the Tianjin Binhai Library opened on October 1, 2017. Want to visit, but can’t afford a trip to China? Take a virtual tour by checking out the photos below.

A general view of the Tianjin Binhai Library
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People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman taking pictures at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A man visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman looking at books at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

[h/t Newsweek]

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