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  • The Paris Review

    Gone in Sixty Sentences

    by Rachel Kushner Apr 18, 2019 6 minutes

    Matthew Porter, Valley View, 2013. From Matthew Porter: The Heights (Aperture, 2019). © Matthew Porter.

    Every time I’ve attempted to start this side-winding meditation on Matthew Porter’s airborne muscle cars, cars that are things and also backlit silhouettes of things, I end up scrolling the new version of the old Autotrader, online, and looking at models of cars I’ve always wanted and haven’t yet owned, and also their silhouettes.

    If I had a hundred grand to drop right now, this morning, which I don’t, I could buy a 1969 GTO Judge, mint. But really it’s not my style. A ’67 GTO and its classy cigar-box lines is what I always wanted. The ’69 is a novelty item, like roller skates or a leather shirt, and anyhow I get bored of the color orange. I’d love a GTO but I don’t need a Judge, even if there are certain days—Tuesdays?—when I feel like I need a Judge.

    For a Sunday drive I want a Stutz Blackhawk; doesn’t even have to be the one

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    Acknowledges
    The Plimpton Circle is a remarkable group of individuals and organizations whose annual contributions of $2,500 or more help advance the work of The Paris Review Foundation. The Foundation gratefully acknowledges: 1919 Investment Counsel • Gale Arnol

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