{"id":102330,"date":"2016-09-06T09:17:50","date_gmt":"2016-09-06T13:17:50","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=102330"},"modified":"2016-09-06T10:17:30","modified_gmt":"2016-09-06T14:17:30","slug":"never-forget-houllebecqs-corgi-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/06\/never-forget-houllebecqs-corgi-news\/","title":{"rendered":"Never Forget Houellebecq\u2019s Corgi, and Other News"},"content":{"rendered":"<div id=\"attachment_102333\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/palais-de-tokyo-michel-houellebecq.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-102333\" class=\"wp-image-102333\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/palais-de-tokyo-michel-houellebecq.jpg\" width=\"600\" height=\"323\" \/><\/a><p id=\"caption-attachment-102333\" class=\"wp-caption-text\">A photo of Cl\u00e9ment from Houellebecq\u2019s show at Palais de Tokyo.<\/p><\/div>\n<ul>\n<li>If you\u2019re in Paris, you have only a few more days to catch Michel Houellebecq\u2019s exhibition at Palais de Tokyo. Hot insider tip: bring a pack of cigarettes\u2014you can smoke them on the premises. True, much of his art is devoted to his beloved pet corgi, Cl\u00e9ment, who is no longer with us. (Miss you always, Clem!) But there\u2019s also, as Chinnie Ding writes, plenty of art that wouldn\u2019t feel out of place in the pages of <em>The Map and the Territory<\/em>: \u201c<a href=\"http:\/\/www.artforum.com\/picks\/section=fr#picks63194\" target=\"_blank\">Vaguely oceanic sounds and slowly throbbing lighting carry us through some corridors where Houellebecq\u2019s photographs of anonymous terrain glow and dim to the steady soporific rhythm of a fogged-out distress signal or a drowsy peep show<\/a>. An all-female island-themed soft-core short,\u00a0<em>La rivi\u00e8re\u00a0<\/em>(The River), 2001, directed by the author, plays in a carpeted\u00a0<em>baisodrome<\/em> In the next room, eyes adjust to blindingly glossy souvenir place mats advertising scenic French regions, such as Guadeloupe and Bretagne, which tile the floor and rebrand the nation as one turquoise-skied terroir. [Robert] Combas has contributed several glinting, convulsive paintings that look like religious icons becoming unhinged. All this nervous enjoyment, culminating in a functioning smoking room, seems convinced of an unusable past and a fait accompli.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Tired of novels? I don\u2019t blame you. Read one, you\u2019ve read them all. It may be wise to get your fiction as you get everything else\u2014from corporations. John Lanchester makes a good case for the literary appeal of correspondence between CEOs and shareholders: \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2016\/09\/05\/jeff-gramms-dear-chairman-boardroom-battles-and-the-rise-of-shareholder-activism\" target=\"_blank\">From the literary-critical point of view, there is always going to be a difficulty with the genre of the investor\u2019s letter. What we\u2019re dealing with here, in essence, is rich people wanting more money<\/a>. That creates issues of tone. The attempted solutions to the problem change over time, just as financial fashions change \u2026 These letters are performances, attempts at persuasion: they are trying to get someone to do something. The desire to make money is always sincere, but not everything else is.\u201d\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Emily Bront\u00eb was apparently a wisp of a woman: frail, small of frame, sickly in temperament. They say her coffin was exceptionally tiny. But Laura June Topolsky looked into that claim, which is maybe not the historical bombshell we think it is:\u00a0\u201c<a href=\"https:\/\/thehairpin.com\/the-shape-of-emilys-coffin-8e8b83b26ad#.7b5p3sicg\" target=\"_blank\">One \u2018fact\u2019 I\u2019ve \u2018known\u2019 for a long time is that Emily Bront\u00eb\u2019s coffin was only sixteen inches wide, which was, I knew, very small<\/a>. The thinness of her frame wasn\u2019t lost on me; I was impressed with this fact every time I read it. It never occurred to me to question the veracity of this story, even though I live in a perpetual state of questioning veracity \u2026 What does it signify\u200a\u2014\u200awhat does it mean to us\u200a\u2014\u200ato read this over and over? Simply that she was emaciated because she was so very ill? Was she deprived of even taking up the normal amount of space for a woman? Did her lack of width speak to her ethereality? It is, at the very least, depressing, right? How wide is an average coffin? Would it be a lot less wide in 1848, owing to like, smaller people and bad nutrition? Is sixteen inches really very narrow? She did have tuberculosis after all, and five foot seven, that\u2019s taller than average, right?\u201d<\/li>\n<\/ul>\n<ul>\n<li>A few years ago, the writer L. S. Hilton turned her efforts from political biography to erotic fiction, as one does. Here\u2019s what that got her: a novel called <em>Maestra<\/em>, a truckload of critical animus, a spot on the best-seller list, and a movie deal. She thought about the correlation between disdain and success: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2016\/sep\/06\/lisa-ls-hilton-maestra-erotic-bestseller-fiction-film\" target=\"_blank\">Everyone hated my book. My agent hated it, and my publisher hated it, and pretty much everyone I showed it to hated it. Even now that <em>Maestra<\/em> has been sold in forty-two countries and garnered a film deal, it still seems to make a lot of readers furious<\/a>. Equally, I have been hugely flattered and encouraged by the number who love it, particularly younger women who have told me that they feel empowered by the story, seeing Judith as a new kind of feminist heroine. Yet both reactions surprise me, demonstrating the disconnect between intention and interpretation. I thought I\u2019d written something quite playful and entertaining, about a latter-day Becky Sharp who, in <em>Vanity Fair<\/em>, finds herself adrift in a man\u2019s world with nothing but her looks and her wits; I had no idea it would enrage some readers as much as it delighted others \u2026 Many journalists have asked me why I turned from writing respectable history books to a presumably disreputable novel, to which all I can say is: if you spend as long as I have hanging around in Renaissance Europe, sex and violence have very little left to shock you with.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Finally, some advice for people building large, unaffordable monuments: sell photos of the thing as you build it. You\u2019ll make a ton of money, especially if you can work some nationalism and fraternity into the mix. It worked for the Statue of Liberty: \u201c<a href=\"http:\/\/hyperallergic.com\/318227\/how-visual-propaganda-helped-build-the-statue-of-liberty\/\" target=\"_blank\">Beginning in 1875, images of the statue\u2019s fragmented head, hands, and torso emerged to form comprehensive documentation\u00a0of its construction<\/a>. They were part of a carefully orchestrated campaign by its designer, Fr\u00e9d\u00e9ric Auguste Bartholdi, to build worldwide excitement\u2014and, of course, draw money, in order to make the mammoth\u00a0work a reality \u2026 Conceived of in 1865 during a dinner conversation about France and America\u2019s friendship, the statue had not received enough public donations\u2014mostly from French citizens\u2014to be completed, as Bartholdi had hoped,\u00a0by 1876, the centennial of the signing of the Declaration of Independence. And so he continued to sell postcards, stamps, and other easily disseminated items emblazoned with the statue\u2019s image.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>If you\u2019re in Paris, you have only a few more days to catch Michel Houellebecq\u2019s exhibition at Palais de Tokyo. Hot insider tip: bring a pack of cigarettes\u2014you can smoke them on the premises. True, much of his art is devoted to his beloved pet corgi, Cl\u00e9ment, who is no longer with us. (Miss you [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[2046,19922,24340,5733,1052,3701,7924,24342,24343,822,24341,10569],"class_list":["post-102330","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-business","tag-coffins","tag-corgis","tag-correspondence-2","tag-dogs","tag-emily-bronte","tag-erotica","tag-frailty","tag-l-s-hilton","tag-michel-houellebecq","tag-palais-de-tokyo","tag-statue-of-liberty"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>This Is Your Last Chance to Mourn Michel Houellebecq\u2019s Corgi<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/09\/06\/never-forget-houllebecqs-corgi-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Never Forget Houellebecq\u2019s Corgi, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"September 6, 2016 \u2013 If you\u2019re in Paris, you have only a few more days to catch Michel Houellebecq\u2019s exhibition at Palais de Tokyo. 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