{"id":101238,"date":"2016-08-05T13:56:30","date_gmt":"2016-08-05T17:56:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=101238"},"modified":"2016-08-05T14:07:11","modified_gmt":"2016-08-05T18:07:11","slug":"staff-picks-constellations-cartography-costanza","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/08\/05\/staff-picks-constellations-cartography-costanza\/","title":{"rendered":"Staff Picks: Constellations, Cartography, Costanza"},"content":{"rendered":"
\"\"<\/a>

Exhibition of the Laughing Gas<\/em>, a wood engraving, ca. 1840.<\/p><\/div>\n

We\u2019ve been closing the Fall issue of the magazine this week, so I haven\u2019t had much of an opportunity for outside reading (there are a couple long poems in the issue I\u2019m particularly keen on). No matter what, though, I\u2019ve spent an hour each night watching the new Netflix show\u00a0Stranger Things<\/a><\/em>. Set in eighties Indiana, the smart and thrilling eight-part series is indebted to much of what was great in eighties horror and youthful sci-fi and fantasy\u2014Poltergeist<\/em>,\u00a0E.T.<\/em>, Stephen King novels, D&D\u2014and shows its influences appreciatively, without seeming imitative or derivative. The tautly drawn plot centers on three adventuresome boys, dorks of the\u00a0Goonies<\/em>\u00a0variety, who lose a friend to a monster-populated parallel world and who befriend a telekinetic girl, named Eleven, to help bring him back. It manages to combine everything I want from my science-fiction entertainment: it\u2019s funny and frightening, doesn\u2019t take the science for granted, and is as much about how people relate to one another as it is about supernatural doings. And of course, John Carpenter\u2013style synths. \u2014Nicole Rudick<\/strong><\/p>\n

A few years ago, Benjamin Breen wrote for the Daily <\/em>about the literature of laughing gas<\/a>, focusing on the psychedelic poetic yield of William James\u2019s encounters with the drug. (\u201cAgreement\u2014disagreement!!,\u201d James wrote. \u201cEmotion\u2014motion!!!\u201d) Now the Public Domain Review<\/em> has put out Oh Excellent Air Bag<\/a><\/em>, an eye-opening compilation of writing about, on, or under the influence of nitrous oxide: an enthralling look at the range of responses laughing gas brought about before the culture began to dictate our reaction to it. Beginning in 1799, when Humphry Davy embarked on a systemic effort to chronicle the effects of the gas, the book goes all the way up an unsigned piece from 1920, in which the writer\u2019s routine tooth extraction sends him on a voyage to the edges of consciousness: \u201cI drifted out among star-ways, and a galaxy of saffron constellations whirled about my head. In some outer void of space I took my station on a base of infinite nothingness \u2026 Eventually there was to come, in the wake of all, a world white and lucent, gleaming like the plumage of an angel\u2019s wing.\u201d Something to keep in mind before your next root canal. \u2014Dan Piepenbring\u00a0<\/strong><\/p>\n

\"\"<\/a>

From the cover of Cartographer<\/i><\/p><\/div>\n

I heard the poet Kei Miller read from his collection\u00a0The Cartographer Tries to Map a Way to Zion<\/em><\/a>\u00a0a few months ago at\u00a0Calabash<\/a>,\u00a0a biennial literary festival on the island of Jamaica. I stayed up one evening this week reading the book through; it was even better than I\u2019d remembered.\u00a0The Cartographer<\/em>\u00a0comprises an imaginary quibbling, in verse, between a mapmaker, whose job it is to \u201cto show \/ the earth as it is, without bias,\u201d and a Rastaman who, in patois, shows his friend what he cannot see, that the lines he draws are of things that \u201cshoulda never exist,\u201d like borders and conquests, the touch of imperialism. The\u00a0book artfully challenges the history that Babylon has written for Jamaica. And strewn throughout are other poems, too\u2014of a mother and the dolls she asks her children to bring home from their travels (\u201cas if glass eyes could bear sufficient \/ witness to where she has not been, \/ the what of the world she has not seen\u201d); of the other maps that are made, like the ones guiding bees from hive to hibiscus. Miller is harrowingly poignant and oddly tender. His is a voice I hope to hear again. \u2014Caitlin Youngquist<\/strong><\/p>\n

\"\"<\/a>

Even better now that they\u2019re off the air.<\/p><\/div>\n

For years, Twitter accounts like Modern Seinfeld<\/a>\u00a0and\u00a0Seinfeld2000<\/a> have been helping humankind in one major creative endeavor: imagining what\u00a0Seinfeld\u00a0<\/em>would be like if it were still on TV. But no one has taken the joke as far as Billy Domineau, a comedian who recently debuted a pitch-perfect, full-length\u00a0Seinfeld\u00a0<\/em>spec script<\/a>\u00a0that\u2019s funnier\u00a0than many episodes of the show that actually aired. Domineau\u2019s episode is set just after 9\/11, and it finds Jerry, George, Kramer, and Elaine reacting with typical tastelessness to New York\u2019s darkest hour. (When Costanza is mistaken for a hero who saved people from the World Trade Center, he runs with it.) I don\u2019t know how Domineau mastered the show\u2019s tone, pace,\u00a0and character tics, but they\u2019re\u00a0all here.\u00a0It\u2019s the single most impressive piece of fan fiction I\u2019ve ever read. It makes me wish the\u00a0Seinfeld\u00a0<\/em>writers\u2019 room still existed to offer him\u00a0a job. \u2014D.P.<\/strong><\/p>\n

\"\"<\/a>

Still from 3 Women<\/i>.<\/p><\/div>\n

Last night I rewatched Robert Altman\u2019s 1977 film 3 Women<\/a><\/i>, an atmospheric masterpiece about, yes, three women whose personalities bleed together until their identities are nearly indistinguishable. The first time I watched 3 Women <\/i>the magnitude of my discomfort made me wonder if the film’s premise (women fluidly exchanging identities in the course of normal social activity) could be cynical or even sexist, but the truth is that 3 Women<\/i> is much more complex. Altman\u2019s characters turn out to be contradictory and unknown even to themselves. Their behavior is sometimes purposeful and sometimes unconscious, their motives shift between sinister and benevolent, and they react to their changing selves with alternating joy and despair. In a way, this view of the self is a metonymy for the film overall: a collection of powerful and contradictory parts that add up to an inexplicable whole. I can\u2019t tell you what it is that the dreamy atmosphere, atonal score, and odd characters conspire to produce in 3 Women<\/i>, but I feel compelled to watch it again and again. \u00a0\u2014Sylvie McNamara<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019ve been closing the Fall issue of the magazine this week, so I haven\u2019t had much of an opportunity for outside reading (there are a couple long poems in the issue I\u2019m particularly keen on). No matter what, though, I\u2019ve spent an hour each night watching the new Netflix show\u00a0Stranger Things. Set in eighties Indiana, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[6076,23774,23769,23771,15340,23770,9619,6077,4804,23773,883,23768,23772,374],"class_list":["post-101238","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-3-women","tag-billy-domineau","tag-humphry-davy","tag-kei-miller","tag-laughing-gas","tag-oh-excellent-air-bag","tag-recommended-reading","tag-robert-altman","tag-seinfeld","tag-spec-scripts","tag-staff-picks","tag-stranger-things","tag-the-cartographer-tries-to-map-a-way-to-zion","tag-william-james"],"acf":[],"yoast_head":"\nStaff Picks: Stranger Things, Kei Miller, a Seinfeld Spec Script<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review is reading this week.\" \/>\n<meta name=\"robots\" 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