August 7, 2020 This Week’s Reading What Our Contributors Are Reading This Summer By The Paris Review Contributors from our Summer issue share their favorite recent finds. Recently, I was inspired by the poet Solmaz Sharif to revisit June Jordan’s collection of essays, Civil Wars (1981). At a time when courting sickness and death is described by the president as “opening up,” or else framed as a concern about the education of children, when the attorney general defines peace as submission to police force, and when some voices, in the midst of a genuine emergency, are petulantly and nebulously complaining about “forces of illiberalism” and “cancel culture,” it’s been refreshing to revisit Jordan, who cuts through all the nonsense to show what is truly at stake with the politics of language and calls for polite civility. If you’re interested, maybe begin by checking out this excerpt from “White English/Black English: The Politics of Translation”: They all—all them whitefolks ruling the country—they all talk that talk, that “standard (white) English. It is the language of the powerful. Language is political. That’s why you and me, my Brother and my Sister, that’s why we sposed to choke our natural self into the weird, lying, barbarous, unreal white speech and writing habits that the schools lay down like holy law… See, the issue of white English is inseparable from the issues of mental health and bodily survival. If we succumb to phrases such as “winding down the war,” or if we accept “pacification” to mean the murdering of unarmed villagers, and “self-reliance” to mean bail money for Lockheed Corporation and bail money for the mis-managers of the Pennsylvania Railroad, on the one hand, but also, if we allow “self-reliance” to mean starvation and sickness and misery for poor families, for the aged, and for the permanently disabled/permanently discriminated against—then our mental health is seriously in peril: we have entered the world of doublespeak-bullshit, and our lives may soon be lost behind that entry. Or maybe this, from the titular essay: Most often, the people who can least afford to further efface and deny the truth of what they experience, the people whose very existence is most endangered and, therefore, most in need of vigilantly truthful affirmation, these are the people—the poor and the children—who are punished most severely for departures from the civilities that grease oppression. If you make and keep my life horrible then, when I tell the truth, it will be a horrible truth; it will not sound good or look good or, God willing, feel good to you, either. —Jamel Brinkley Still from video of performance Pajé Onça Hackeando a 33ª Bienal de Artes de São Paulo © Denilson Baniwa Reaching for my mask along with the standard phone-wallet-keys when I venture out for groceries or remember that it’s healthy to go outside (mostly), I keep thinking of artist Denilson Baniwa’s series “Ritual Masks For a World In Crisis,” part of a quarantine-era commission of 125 artists by the Instituto Moreira Salles in Brazil, with an essay translated here by Tiffany Higgins. In these eight self-portraits, Baniwa mixes the surgical or hand-sewn pleated masks and bandannas that have become our new everyday around the world with woven crowns, feather headdresses, baskets, and jaguar heads that evoke Indigenous forms of protection and communication with the invisible world. These ritual masks are a way to negotiate with the God of Maladies, the code name he offers so as not to give away the Amazonian Baniwa people’s name for the spirit who takes the form of a sloth. The bright headdresses and face coverings with cheerful patterns like potted succulents and diamonds with stars morph from photo to photo, while Baniwa wears the same white T-shirt with his own silk-screened design, a stylized roaring jaguar with the words, “Floresta de pé, fascismo no chão,” a slogan seen and heard at Indigenous rights protests, which translates roughly to, “Up with the forest, down with the fascists.” Some of the headdresses trade the usual feathers and thread for electrical wire and the jagged teeth of long, thin hacksaw blades broken in pieces to form crowns and a halo. These unexpected juxtapositions shape the playful, absurdist, and activist tone of Baniwa’s work, which mixes memories of his people’s traditions from the Rio Negro region of the northwestern Amazon with the modern-day artifacts and practices of an artist based in Rio de Janeiro. Before the pandemic, Baniwa walked the streets and museums of São Paulo and sites like the Biennale of Sydney with a mask and cape as the Pajé Onça, a powerful shaman who takes the form of the spotted jaguar, a figure that appears throughout Baniwa’s street murals, wheat-paste posters, museum installations, and performances, displayed on his site and on Instagram. COVID-19 has hit communities in the Amazon especially hard, with the widespread loss of loved ones, elders, artists, healers, and shamans, like Feliciano Lana, the Desana artist whom Baniwa cites as a major influence, and Vó Bernaldina, a spiritual and political leader of the Macuxi people. For Baniwa, it brings up memories of plagues brought by past colonizers, and the ways Indigenous people had to update their sacred rituals to include vaccines, antibiotics, and other medicines that intervened with the unseen world. The present mask and hand-washing rituals are yet another update. He writes, “May the God of Maladies see that we are fulfilling all the rituals, and soon be soothed. May our people survive this, one more end of the world.” —Katrina Dodson These days I have been enfolded in Adeeba Talukder’s beautiful collection of poems, Shahr-e-Jaanaan, City of the Beloved. Like a graceful arabesque the collection soars into Urdu poetry and swerves back into English. Lines like these leave me breathless: “Longing, air spent / travels the length of age, then receives / a faint reply: / You have a conquered a curl, at last.” Talukder’s poetry captures the exquisite pain of the lover; the Urdu ghazal glimmers behind the English and invites me to dwell in both worlds. Walking alone in empty streets, I’m drawn to her contemplations on loneliness and companionship, “Come walk with me / by the lake’s empty benches. / Tell me, dressed in roses / we need some air.” Her collection of poems has been my companion and my lover, the one I reach out to when I need a place to breathe. — Krupa Shandilya Read More
August 6, 2020 Happily Rapunzel, Draft One Thousand By Sabrina Orah Mark Sabrina Orah Mark’s column, Happily, focuses on fairy tales and motherhood. Photo © Sabrina Orah Mark I call the Wig Man. He picks up. “My sister,” I say, “was diagnosed …” He interrupts me because he is driving and he is in a rush. “My store,” he says, “was looted last night.” “My sister,” I want to say, “…” He tells me he gathered all the hair that was left on the floor. “Glass everywhere,” he says. “I filled my Toyota Tacoma with all the hair that was left. I am driving home now,” he says. “Is you sister’s hair long?” he asks. It is. It is very long. “Because if it’s long what your sister should do before treatment begins is cut all her hair off and I will sew it, strand by strand, into a soft net. It’s called a halo,” he says. “I want to help your sister,” says the Wig Man. I imagine his Toyota Tacoma so stuffed with wigs that black and brown and blond hairs press up against the windows. Like animals trapped inside their own freedom. He starts to cry. I am certain he is driving across a bridge. “I don’t know how much more of this I can take,” he says. “Neither do I,” I don’t say. Sewing a wig strand by strand is called ventilating. I watch a tutorial. With a needle you draw each strand through a lace net and knot it on itself. The needle goes in and then out like thousands of tiny breaths. Ventilating a wig takes the patience of the dead. Each knotted strand is like a person sewn into a free country. The knot is tight, and the net is manufactured. “Of course my life matters,” says Eli my six-year-old. “Why wouldn’t it matter?” My sister decides not to cut her hair. Instead she lets it fall out, slowly and then suddenly. She yawns, rises, and climbs up the stairs. She leaves behind a trail of blondish gold thread, like a princess coming undone. I write six different essays on Rapunzel. All of them are terrible. I help my sister into bed, though she prefers I not touch her. On her nightstand are six glittering tiaras. She wears one to chemo. Another to breakfast. “Isn’t it strange,” I say, “that I write about fairy tales and you are a fairy tale princess?” She looks at me hard. “A sick princess,” she says. Read More
August 5, 2020 Poets on Couches Poets on Couches: Reading Max Jacob By Suzanne Buffam and Srikanth Reddy In this series of videograms, poets read and discuss the poems getting them through these strange times—broadcasting straight from their couches to yours. These readings bring intimacy into our spaces of isolation, both through the affinity of poetry and through the warmth of being able to speak to each other across the distances. “Ravignan Street” by Max Jacob, translated by Elizabeth Bishop Issue no. 226 (Fall 2018) “One never bathes twice in the same stream,” the philosopher Heraclitus used to say. However, the same people always turn up again! They go by, at the same time, gay or sad. You, passers-by in Ravignan Street, I have given you the names of Historical Defuncts! Here’s Agamemnon! Here’s Madame Hanska! Ulysses is a milkman! Patrocles is at the foot of the street while a Pharaoh is near me. Castor and Pollux are the ladies on the sixth floor. But you, old rag-picker, you who, in the enchanted morning, come to get the garbage, the garbage which is still fresh when I put out my nice big lamp, you whom I do not know, poor and mysterious rag-picker, you, rag-picker, I have named you a noble and celebrated name. I have named you Dostoyevsky. Srikanth Reddy’s latest book of poetry, Underworld Lit, will be published by Wave Books in August 2020. He is a Professor of English and Creative Writing at the University of Chicago. Suzanne Buffam is the author of three books of poetry, the most recent of which is A Pillow Book (Canarium, 2016). She teaches at the University of Chicago.
August 5, 2020 Arts & Culture Jean-Patrick Manchette’s Cabinet of Wonders By Howard A. Rodman Jean-Patrick Manchette, 1967. They were nearly all Islanders in the Pequod, Isolatoes too, I call such, not acknowledging the common continent of men, but each Isolato living on a separate continent of his own. —Herman Melville, Moby-Dick Herman Melville called them isolatoes—the word he coined for those among us who don’t have much truck with fellow humans. The bonds of society, except in odd and extenuating circumstances, are not really for them. Love, marriage, family seem as strange, distant institutions, things one might observe with a notebook in the other hand. At best, there are a couple of old comrades accumulated on life’s journey to whom one might turn when things go south. For isolatoes, the most constant of companions are those voices inside the head. Jean-Patrick Manchette’s protagonists are isolatoes. Georges Gerfault in Three to Kill, Julie Ballanger in The Mad and the Bad, Martin Terrier in The Prone Gunman, Aimée Joubert in Fatale: windowless monads, all of them. Memorable, violent, alone. Read More
August 4, 2020 At Work Dissecting Pain: An Interview with Alisson Wood By Leslie Jamison I read Being Lolita in two feverish, painful, clarifying, enthralling, disturbing sittings, over the course of two nights, while my toddler daughter slept in the next room. I found myself wanting to reach into its pages and save the girl who was caught in them, but as I kept reading, I started to understand she didn’t need my saving. Her author was the woman she’d become, and her voice was electric, alive, rigorous, humane, allergic to reduction. It would be easy to summarize Being Lolita as a memoir about a toxic, exploitative relationship between a high school English teacher and his student, and it is about that—but it’s about that in the way Walden is about a pond, or Let Us Now Praise Famous Men is about sharecroppers. Which is to say, it’s also about so much more. It’s about narrative itself—the poly-edged blade of storytelling, how it seduces and distorts and justifies; how it liberates and unsettles; how it settles like fog but also pierces through obscuring mists with the chill sunlight of something uncomfortable getting discovered. It’s a book about the way stories can feel like straitjackets and also like exhalations; how we can lose or find ourselves in them—sometimes both at once. The book begins at one chalkboard and ends at another, with the student becoming a teacher, reclaiming the stories that once took away her voice even as they convinced her they were giving it to her. It’s a book that’s faithful to the grit and grain of lived experience, how it inheres in a thousand particulars itching like mosquito bites under the skin: the Latin conjugations and hallway gossip and crepe paper banners of high school; the gimlets and bloody sheets and wearying, labyrinthine convolutions of endless gaslighting. It’s a book that knows if you follow these slivers back into the pulse and flesh of memory, they take you somewhere more complicated than the stories we often tell ourselves about abuse and violence, and they force you to reckon with its messy, enduring aftermath. I first met Alisson Wood after a reading last year, when she approached me to tell me that my own writing had been meaningful to her. There was something in her voice and in her eyes when she described the book she had written that made me realize the world needed it. And when I read Being Lolita a year later, I felt the world expanding—gaining another layer in the compost of its infinite human experience, of all the stories we need to hear told. As I read, I was deeply moved by the ways Wood summoned the teenager she’d once been, faithful to the furrows of that psyche—its delusions and its fragilities and its curiosities and its capacities and its hunger—even as she gazed backward through the years with exacting and attentive clarity. Read More
August 4, 2020 First Person Self-Portrait in Venice By Cynthia Zarin Lion of Venice, Photo: Didier Descouens. CC BY-SA (https://creativecommons.org/licenses/by-sa/4.0). In maps of the brain, the central cortex is shaped like Venice. The amygdale, the locus of emotion and fear, is the quarter of the church of Santi Giovanni e Paolo; the hippocampus, the site of long- and short-term memory, is the entry into Venice via the Grand Canal; the cerebellum, which regulates balance, the lagoon bordered by the Lido; the hypothalamus, which controls circadian rhythms, the Piazza San Marco. The first summer I came to Venice, I was nineteen. I was with a boy I thought I might marry, and we sat on the steps of the baroque basilica of Santa Maria della Salute, which is a short walk from where I am writing now, at the Pensione Accademia, in the quieter environs of Dorsoduro. We ate sandwiches made of pressed veal, and drank cans of aranciata. It was too expensive to stay in Venice; we took the train from Padua, where we had gone to see the Giottos in the Scrovegni Chapel, and stayed in a gimcrack boardinghouse where the walls were paperboard painted to look like wood. The ceiling of the chapel was flecked with gold stars. Now, in Padua, you walk into an air-controlled chamber and have fifteen minutes to look at the frescoes. Then, you stayed as long as you liked. We sat in the pews and read letters that Elizabeth Barrett Browning wrote from Italy. It was hot and I argued with the boy—I did not want to hear any more about Savonarola, with whom he had become obsessed. He had written a senior thesis on Jonathan Edwards, about whom I had previously listened. To annoy me, because I would not listen, he was rude to an old friend of mine who had come up for the day from Florence, where she was studying, to meet us. It has been years since I spoke to either of them. Perhaps it is better for me to come to Venice alone; there is no one with whom I have been to Venice that I am now on speaking terms, as if one caprice of the city is to induce fever dreams from which there is no return. On June 4, 1851, Mrs. Browning wrote to a Miss Mitford: I have been between heaven and earth since our arrival at Venice. The heaven of it is ineffable. Never had I touched the skirts of so ineffable a place. The beauty of the architecture, the silver trails of water … nothing is like it, not a second Venice in the world … But now comes the earth side: Robert, after sharing the ecstasy, grows uncomfortable and nervous, unable to sleep or eat, and poor Wilson, still worse, in a miserable condition of sickness and headaches. On the earth side, from the man whose face was like a portrait by Bronzino: “Would like to report something amusing yet I have really overstretched myself and am paying for it … Today high blood pressure, splitting headache, not enough sleep, and all the usual tension.” Perhaps my own instinct for complication, for the rococo, for situations that cannot possibly resolve themselves, can be traced to an inability to keep track of a thought a sensible person would heed—a grain of millet blown over San Marco, which, left to fall into the canal, swells and bursts? Read More