{"id":103697,"date":"2016-10-14T14:27:54","date_gmt":"2016-10-14T18:27:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=103697"},"modified":"2016-10-14T15:53:50","modified_gmt":"2016-10-14T19:53:50","slug":"staff-picks-murderous-teens-mechanical-cities-message-boards","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/10\/14\/staff-picks-murderous-teens-mechanical-cities-message-boards\/","title":{"rendered":"Staff Picks: Murderous Teens, Mechanical Cities, Message Boards"},"content":{"rendered":"

\"screen-shot-2016-10-14-at-12-23-38-pm\"<\/a><\/p>\n

The first thing\u2014maybe the only thing\u2014we all learn about art history is that standards of beauty change. The ideal body gets fatter or thinner, different body parts get emphasized or flattered away\u2014and the fashions of the time serve this ideal. At least, that\u2019s how we usually think. Recently I\u2019ve gone back to Anne Hollander\u2019s 1978 masterpiece Seeing Through Clothes<\/a><\/em>, which turns that way of thinking on its head. When we look at a nude body, Hollander argues, we are always seeing the clothes that aren\u2019t there, whether we know it or not. The big pregnant-looking belly on an early Renaissance Eve is meant to support the heavy woolen gathers of a gown. The \u201cunaccountable hummocks of flesh\u201d on a Rubens nude evoke the satin she doesn\u2019t have on. Whether Hollander writes about dresses or men\u2019s tailoring or classical drapery, she leads us, like no other historian I\u2019ve read, into the erotic imagination of the past. Seeing Through Clothes<\/em> blew my mind when I first read it twenty years ago, and now it\u2019s keeping me up late all over again. \u2014Lorin Stein<\/strong><\/p>\n

One day during Salvador Dal\u00ed\u2019s first visit to New York City in 1934, he woke \u201cat six in the morning \u2026 after a long dream involving eroticism and lions.\u201d He was surprised by the insistence of the lions\u2019 roars\u2014the savage cries of his dreams, which were so different than what he expected in a \u201cmodern and mechanical\u201d city. Reading this, I thought of the Surrealist master dreaming of great orange cats roaring in his ears. But the roars weren\u2019t in his imagination: he and his wife, Gala, were staying near the Central Park Zoo, and he discovered at breakfast that the sounds were real. It\u2019s amusing to read Dal\u00ed\u2019s impressions of the city, which he gives in\u00a0his autobiography,\u00a0The Secret Life of Salvador Dal\u00ed<\/a><\/em>. During his stay, he hops from one cocktail party to another, drinks in a Harlem night club, attends a \u201csurrealist ball,\u201d visits an exhibition of his works, and does a fine bit of walking \u201call alone in the heart of New York.\u201d Here\u2019s his take on the city\u2019s skyscrapers: \u201cEach evening [they] assume the anthropomorphic shapes of multiple gigantic Millet\u2019s\u00a0Angeluses<\/em>\u00a0\u2026 motionless and ready to perform the sexual act and devour one another, like swarms of praying mantes before copulation.\u201d\u00a0\u2014Caitlin Love\u00a0<\/strong><\/strong><\/p>\n

\"compton-hilliard_2048x2048\"<\/a><\/p>\n

Before seeing Larry Clark\u2019s\u00a0Bully<\/a><\/em>, I had never seen a film that made me understand how somebody could kill another person. I\u2019d mostly seen tightly plotted murder films in which the motive was airtight and the moment of decision all but glossed over, and I thought that\u2019s where the genre ended.\u00a0Bully,\u00a0<\/em>though,\u00a0<\/em>is something different: it follows a group of shiftless teens who are dominated and manipulated by one of their peers. The film\u2019s meandering and gratuitous opening\u2014scene after scene of teen recklessness punctuated by extreme outbreaks of physical, sexual, and psychological violence\u2014slowly gains coherence after one of the characters suggests murdering the friend who\u2019s the source of their torment. Roger Ebert observed that\u00a0Bully<\/em>\u00a0\u201chas all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing,\u201d and that\u2019s the power of it;\u00a0Bully<\/em>\u2019s plot and style have few of the markers of a murder film, which leaves us just as surprised as the characters when the murder ultimately occurs. Clark\u2019s great achievement is the subtlety with which he renders the group dynamic, showing how each member, by pretending to be prepared to kill, goads the others into doing something that none would be capable of alone. \u2014Sylvie McNamara<\/strong>\u00a0<\/strong><\/p>\n

I love John Carpenter\u00a0movies\u2014not\u00a0just at Halloween but all year long.\u00a0The Thing<\/em>\u00a0is one of my favorites, partly for Kurt Russell and partly because, as\u00a0Dave Tompkins wrote on this site<\/a>, it replicates \u201cthe frailty of the human mind in conditions of paranoia and subzero isolation.\u201d Put another way, \u201cIf you were a Thing, would you know?\u201d That\u2019s Carpenter himself, from\u00a0a recent conversation<\/a> in the\u00a0Village Voice<\/em> with the director and four of the film\u2019s cast members. Apparently, some of the cast were obsessed with this question. David Clennon (he plays Palmer, the stoner mechanic) recalls, \u201cWe wasted hours and hours of rehearsal time discussing fucking metaphysics! \u2026 When you become the Thing\u2014when the alien takes over your mind and body\u2014do you know that you\u2019ve become the Thing? Or do you just go on thinking that you are your old self?\u201d The conversation includes some great nuggets on filming in extreme temperatures (Clennon again: \u201cIf I don\u2019t drink today it\u2019s because I drank enough then\u201d), but I felt most pleased in reading their praise of old-school special effects, courtesy Rob Bottin: \u201cWe didn\u2019t have to imagine some post-production [computer-generated] effects and then pretend to be shocked or mesmerized. Rob Bottin gave us all we needed to be well and truly freaked.\u201d \u2014Nicole Rudick<\/strong><\/p>\n

<\/a>

This photo captivated a message board for whole years.\u00a0<\/strong><\/p><\/div>\n

I\u2019ve been making my way through D.\u2009G. Compton\u2019s The Continuous Katherine Mortenhoe<\/a><\/em> in the few moments when I don\u2019t feel like I\u2019m living in an Orwellian reality-TV hellscape. (Few and far between, these days.) Set in a humdrum near-future England, the novel tells of Katherine Mortenhoe, a prolific romance author\u2014the term is apparently programmer<\/em> in the future\u2014who\u2019s slowly dying of old age. But the problem of death has been solved in the future, so Mortenhoe\u2019s impending passing attracts a lot of attention. Rod, a journalist who\u2019s received ocular implants that enable TV producers to record everything they see, is tasked to document Mortenhoe\u2019s final days, which become eerily scripted. Rod, whose part in the shifting narrative is told in first person, is torn between filming her without consent and actually caring for her. You\u2019ll enjoy it if you\u2019re a fan of shows such as Black Mirror<\/em> and Westworld<\/em> that explore human nature and technology in parallel. \u2014Jeffery Gleaves<\/strong><\/p>\n

Ah, the wisdom of crowds. So tenacious, so monomaniacal, so adept at wasting time. The new episode of Reply All<\/em><\/a>, a podcast about the Internet and how it fucks with people, tells the story of a message board whose many members spent years dissecting an ordinary photo from a shitty high school party. They identified everyone in it; found other photos from the same party; made detailed predictions about what would become of these kids; and went to great lengths to keep tabs on them as they grew up\u2014all because it was just kinda funny. Then it got weird: the kids from the photos were aware of the message board all the while, and eventually they elected to make contact. \u201cThe whole time you were watching us, we were watching you,\u201d they wrote, adding almost as an afterthought that the guy from the original\u00a0photo had since died. I won\u2019t spoil the rest except to say that it involves a strained encounter at a bar in suburban Pennsylvania, and that it\u2019s a disturbing parable about collective obsession in the age of the search engine. \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The first thing\u2014maybe the only thing\u2014we all learn about art history is that standards of beauty change. The ideal body gets fatter or thinner, different body parts get emphasized or flattered away\u2014and the fashions of the time serve this ideal. At least, that\u2019s how we usually think. Recently I\u2019ve gone back to Anne Hollander\u2019s 1978 […]<\/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":[14552,17,25123,12203,25124,538,8705,2861,16399,5813,25127,81,747,16499,9619,25126,670,14553,883,25125,12735,25122,863],"class_list":["post-103697","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-anne-hollander","tag-books","tag-bully","tag-clothes","tag-d-g-compton","tag-fashion","tag-films","tag-history","tag-john-carpenter","tag-larry-clark","tag-message-boards","tag-movies","tag-novels","tag-podcasts","tag-recommended-reading","tag-reply-all","tag-salvador-dali","tag-seeing-through-clothes","tag-staff-picks","tag-the-continuous-katherine-mortenhoe","tag-the-internet","tag-the-secret-life-of-salvador-dali","tag-the-village-voice"],"acf":[],"yoast_head":"\nStaff Picks: Anne Hollander, John Carpenter, Larry Clark<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review is reading this week.\" \/>\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\/10\/14\/staff-picks-murderous-teens-mechanical-cities-message-boards\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Murderous Teens, Mechanical Cities, Message Boards by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"October 14, 2016 \u2013 The first thing\u2014maybe the only thing\u2014we all learn about art history is that standards of beauty change. 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