December 12, 2016 On the Shelf Self-Care Ain’t What It Used to Be, and Other News By Dan Piepenbring Jean-Léon Gérôme, La grande piscine de Brousse, 1885. It’s always a good time to suck the marrow out of language. Just ask advertisers: in recent years they’ve laid claim to the word minimalism, evacuating its political-aesthetic lineage and rebranding it to sell sleek, Instagrammable housewares. And now they’ve captured self-care, which, as Marisa Meltzer writes, has seen a spike in usage that divorces it from its original radicalism, binding it forevermore to conspicuous consumption: “The current usage is often traced back to the self-described ‘black, lesbian, mother, warrior, poet’ Audre Lorde, who wrote in an essay published in her 1988 book, A Burst of Light, that ‘caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare’ … Gabrielle Moss, author of the Goop parody book, Glop, thinks that self-care is starting to (surprise, surprise) lose its meaning and become a marketing tool. ‘Things that get branded as self-care now have nothing to do with taking care of yourself, like detoxes and juice fasts,’ Ms. Moss said. ‘I do them because I hate myself, not because I’m taking care of myself. It’s poised to be wrenched away from activists and turned into an excuse to buy an expensive bath oil.’ ” If you want to read something about Russia that doesn’t contain the words hacking, Putin, or clandestine plan to undermine American democracy by propping up demagoguery, you might try this, by Adam Weiner—it’s about Nikolai Chernyshevsky’s What Is to Be Done?, a work of far-fetched political fiction from which Ayn Rand, of all people, borrowed liberally (or libertarianally): “The novel, once published, did not merely arouse spasms of sarcastic mirth; it also established a bizarre new paradigm of behavior in Russia. Rational egoism, though actually built on an immovable foundation of determinism, indulged its followers with the idea of endless personal freedom, depicting again and again an almost miraculous process of transformation by which socially inept people became like aristocrats, prostitutes became honest workers, hack writers became literary giants. For decades after the novel’s publication, in imitation of Chernyshevsky’s fictional heroes, young men would enter into fictitious marriages with young women in order to liberate them from their oppressive families. The nominal husband and wife would obey Chernyshevsky’s rules of communal living, with private rooms for man and wife. In imitation of the sewing cooperative in Chernyshevsky’s novel, communes began sprouting all over the place. As an example, the famous revolutionary Vera Zasulich was, within two years of the publications the novel, working for a communal book bindery, while her sisters and mother joined a sewing cooperative—all of this directly caused by What Is to Be Done?.” Read More
December 9, 2016 From the Archive Herzog in the Jungle By Caitlin Love Still from Fitzcarraldo. Our complete digital archive is available now. Subscribers can read every piece—every story and poem, every essay, portfolio, and interview—from The Paris Review’s sixty-three-year history. Subscribe now and you can start reading 0ur back issues right away. You can also try a free ten-day trial period. Read More
December 9, 2016 This Week’s Reading Staff Picks: Tests, Tongues, Tinfoil Orbs By The Paris Review Rorschach psychodiagnostics. From the first chapter of The Inkblots: Hermann Rorschach, His Iconic Test, and the Power of Seeing, out in February, it seems incredible that no one before Damion Searls has ever written a biography of Rorschach. Born in extreme poverty in the Swiss countryside, in 1884, Rorschach spent most of his professional life in obscurity, working as a psychiatrist in a remote, understaffed insane asylum. It was there that he invented his “psychodiagnostics,” a series of symmetrical multicolored forms (they weren’t really inkblots) that could reveal hidden aspects of the mind. One year later, Rorschach was dead, at thirty-seven, of a ruptured appendix. His early death may have deterred other would-be biographers, but Searls sails past it with style: the second half of his book traces the fortunes of Rorschach’s famous test, which became a household word in America after World War II, when the U.S. Army used it on draftees. Searls uses this unlikely-seeming artifact to illuminate two histories, one scientific, the other cultural, both full of surprises. —Lorin Stein I have a galley of Layli Long Soldier’s debut collection but have put off digging into it partly because it doesn’t come out until March. Given the events at Standing Rock earlier this week, it seemed the ideal moment to read the long, multipart poem Whereas, Long Soldier’s response to President Obama’s signing and delivery, in 2009, of the Congressional Resolution of Apology to Native Americans. Or rather, his lack of delivery: he never read it aloud publicly. Is an apology really an apology if you only write it down and file it away? Long Solider begins sentences, paragraphs, and sections with whereas, the hedging of government-speak that she counters with lines about her childhood, her parents, her tribe, and her daughter. She interweaves these with thoughts of language’s limitations, which she faces again and again, and her weariness—bodily, psychically, culturally—infects the poem: “How much must I labor // to signify what’s real … Really, I climb the back of languages, ride them into exhaustion—maybe pull the reins when I mean go … Stuck, I want off. Let loose from the impulse to note: Beware, a horse isn’t a reference to my heritage.” The personal is political here, and vice versa, and Long Soldier isn’t giving up. “The root of reparation,” she writes, “is repair.” —Nicole Rudick Read More
December 9, 2016 Our Correspondents Safe as Houses By Amy Gentry On Max Ophüls’s 1949 noir, The Reckless Moment. Joan Bennett in The Reckless Moment. What makes a thriller “domestic,” anyway? Broadly speaking, it takes place in a house. Domestic thrillers are horror stories about the emotional labor that maintains the private sphere going terribly awry; think of the way towel straightening and pantry rearranging become acts of violence in Sleeping with the Enemy, transforming Julia Roberts’s new home, at the climax, into an uncanny country where she’s always a stranger. Sleeping with the Enemy was released the same year as Susan Faludi’s book Backlash: The Undeclared War Against American Women, and while Faludi herself criticized nineties domestic thrillers for preying on women’s fears about their changing roles in a postfeminist world, it seems more accurate to say the films expressed those fears—many of them were, after all, based on novels and screenplays by women—much as post–Word War II film noir expressed anxieties about reintegrating men into the social order after what they had seen and done overseas. In fact, nineties domestic thrillers have their precursors in the 1940s subgenres of melodramatic noir and women’s suspense that rose alongside more traditionally masculine postwar noir. Alfred Hitchcock’s films about murderous husbands and male family members in the early forties—Rebecca, Suspicion, and Shadow of a Doubt—kicked off a decade of domestic thrillers that invited noirish paranoia into the house, including George Cukor’s Gaslight, Michael Curtiz’s Mildred Pierce, and Joseph Litvak’s Sorry, Wrong Number. Read More
December 9, 2016 On the Shelf Giraffes, Despair, and Other News By Dan Piepenbring Alfred Edmund Brehm, Giraffes, 1893. The British monarchy is one of those institutions whose endurance serves as its justification—like NASCAR or mall Santas, it’s so deeply entrenched that you can sometimes go for whole years without realizing how ridiculous it is. But Tanya Gold, wandering Buckingham Palace (“There is something pathetic about a fiercely vacuumed throne room”) knows full well what an asinine spectacle the queen is: “She does not make mistakes. We are applauding an absence of something. It is very British to salute a void. Everyone can agree on its merits … The Queen walks a slender line between monotony and the sublime. She has managed this contortion by remaining largely silent for eighty-nine years—a good mirror will grant a reflection to anyone who walks past—and, more important, by giving the impression that she does not want the job … This, though, is the central pillar of Elizabeth II’s myth: the Queen as victim. You can get away with anything if people think you are doing it for their sakes.” In promoting Swing Time, Zadie Smith has found she gets one question over and over: “In your earlier novels you sounded so optimistic, but now your books are tinged with despair. Is this fair to say?” Her answer: “I believe in human limitation, not out of any sense of fatalism but out of a learned caution, gleaned from both recent and distant history. We will never be perfect: that is our limitation. But we can have, and have had, moments in which we can take genuine pride. I took pride in my neighborhood, in my childhood, back in 1999. It was not perfect but it was filled with possibility. If the clouds have rolled in over my fiction it is not because what was perfect has been proved empty but because what was becoming possible—and is still experienced as possible by millions—is now denied as if it never did and never could exist.” Read More
December 8, 2016 From the Archive What’s Inspiration, Anyway? By Dan Piepenbring Our complete digital archive is available now. Subscribers can read every piece—every story and poem, every essay, portfolio, and interview—from The Paris Review’s sixty-three-year history. Subscribe now and you can start reading 0ur back issues right away. You can also try a free ten-day trial period. Read More