{"id":104010,"date":"2016-10-21T14:22:03","date_gmt":"2016-10-21T18:22:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=104010"},"modified":"2016-10-21T14:37:59","modified_gmt":"2016-10-21T18:37:59","slug":"staff-picks-mortar-machine-guns-manuscript-porn","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/10\/21\/staff-picks-mortar-machine-guns-manuscript-porn\/","title":{"rendered":"Staff Picks: Mortar, Machine Guns, Manuscript Porn"},"content":{"rendered":"
<\/a>

Marc Yankus, Haughwout Building<\/i>, 2016.<\/p><\/div>\n

When the paleologist Christopher de Hamel first conceived\u00a0Meetings with Remarkable Manuscripts<\/a><\/em>, he wanted to call it\u00a0Interviews with Manuscripts<\/em>, but his publisher wouldn\u2019t let it fly. His pitch, eccentric though it may be, was that encountering texts like The Copenhagen Psalter <\/em>and The Hours of Jeanne de Navarre <\/em>in their original forms, deep in the bowels of the world\u2019s most esoteric and inaccessible libraries, is not unlike interviewing famous celebrities in their current homes. \u201cThe idea of this book, then,\u201d he writes in the introduction, \u201cis to invite the reader to accompany the author on a private journey to see, handle and interview some of the finest illuminated manuscripts of the Middle Ages.\u201d For how seriously De Hamel takes the premise\u2014and he takes it, like, aggressively seriously\u2014Meetings\u00a0<\/em>can feel, somewhat hilariously, like big-league manuscript porn: \u201cAs you sit in the reading-room of a library turning the pages of some dazzlingly illuminated volume,\u201d he says, \u201cyou can sense a certain respect from your fellow students on neighboring tables consulting more modest books or archives.\u201d Each of the book\u2019s twelve studies is meticulously researched, and De Hamel showcases them with such self-evident joy that they\u2019re irresistibly immersive. \u2014Daniel Johnson<\/strong><\/p>\n

We featured a portfolio of the artist Marc Yankus\u2019s \u201cSecret Lives of Buildings\u201d series in our Winter 2014 issue<\/a>. Last week, Yankus packed the newly relocated\u00a0ClampArt<\/a>\u00a0gallery for his fifth solo show<\/a>, up through November 26. His new work furthers his obsession with New York\u2019s architecture; once again, Yankus plays with geometry, texture, and ornament, tricking the eye with his masterful and often painterly attention to brick and mortar\u2014obsessively blurring the lines between photography and illustration. Yankus seems to bring out the very best in these buildings, some that we\u2019re so familiar with that we have ceased really\u00a0seeing<\/em>\u00a0them. His work asks us to take a second look\u2014and the images are imbued with optimism and splendor at a time when it\u2019s often difficult to feel uplifted. Yankus has left behind the sandpaper tones and textures from his last body of work, introducing more light through a whitewashing effect. The sheer scale of some of the prints gives the impression that you could easily step, like Alice through the looking glass, from the gallery floor into one of Yankus\u2019s deserted streets. \u2014Charlotte Strick\u00a0<\/strong><\/p>\n

<\/a>

From the cover of Meetings with Remarkable Manuscripts<\/i>.<\/p><\/div>\n

A tabloid item about Kristen Stewart (didn\u2019t you hear? She\u2019s dating St. Vincent now<\/a>) reminded me that I hadn\u2019t gotten around to Clouds of Sils Maria<\/a><\/em>, the Olivier Assayas movie she starred in a few years back, opposite Juliette Binoche. On the face of it, the premise is recherch\u00e9 as fuck\u2014Binoche plays an aging actress, and Stewart is her sharp, eager personal assistant; in the\u00a0resplendent\u00a0isolation of the Swiss Alps, they begin to run lines for Binoche\u2019s next project, a play whose nervous, percolating eroticism mirrors the tensions in their working relationship. Soon enough, you can\u2019t tell when they\u2019re rehearsing and when they\u2019re \u201cbeing themselves\u201d; the script\u2019s indignation and injury threaten to rupture into their own lives. It could be an exercise in self-referential wankery (and also maybe a Certified Copy <\/em>rip-off, right down to Binoche\u2019s casting). But in practice, and in no small part thanks to Stewart\u2019s subtlety, it\u2019s a smoldering, startlingly poignant movie that strikes at the vexing power and oddity of performance. I can\u2019t stop turning it over in my head. \u2014Dan Piepenbring<\/strong><\/p>\n

<\/a>

Still from Clouds of Sils Maria<\/i>, 2014.<\/p><\/div>\n

When was the last time you made yourself not read a book because you so badly didn’t want it to end? It happened to me last month with The Summer Book<\/em><\/a>, Tove Jansson\u2019s 1972 novel-in-stories about a little girl and her grandmother on an island off the Finnish coast. As Nicole\u00a0wrote<\/a>\u00a0on the Daily<\/em> two years ago, \u201cIts stories are miniatures not just in length but in perspective as well.\u201d The tiny island, the brief summer\u2014which the grandmother knows may be their last\u2014make up an entire world that I hated to leave. \u2014Lorin Stein<\/strong><\/p>\n

I\u2019ve only just started Ishion Hutchinson\u2019s newest collection of poems,\u00a0Lords and Commons<\/em><\/a>, but I\u2019m already quite taken by it. The book, Hutchinson\u2019s second, offers an arresting lyricism and an unflinching vision of life in Jamaica, the poet\u2019s\u00a0homeland and muse. (Far Districts<\/em>, his first book, also brought us there.) We\u2019re led\u2014gently, as if by the hand\u2014through the histories, geographies, and stories of the land, where violence reigns over the lush, ravishing landscape. Hutchinson takes us from Duckenfield, where the cane cutters are \u201cthirsty for blood and for rum,\u201d to \u201cthe shadowless lion-bluff\u201d of Pigeon Island, to see the \u201cwhite army of\u00a0luxury boats,\u201d idle in the bay, waiting \u201cto ignite another plantation.\u201d\u00a0I\u2019m only about halfway through, but here are a few of the most devastating lines so far, from \u201cThe Garden\u201d: \u201cthe flags stiffened on the embassy building \/ but did not fall when the machine guns \/ flared and reminded that stars were inside \/ the decrepit towns, in shanty-zinc holes, staring at the fixed constellations \u2026 \u201d \u2014Caitlin Youngquist\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

When the paleologist Christopher de Hamel first conceived\u00a0Meetings with Remarkable Manuscripts, he wanted to call it\u00a0Interviews with Manuscripts, but his publisher wouldn\u2019t let it fly. His pitch, eccentric though it may be, was that encountering texts like The Copenhagen Psalter and The Hours of Jeanne de Navarre in their original forms, deep in the bowels […]<\/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":[1657,35,17,25313,25318,71,14838,25321,18644,25319,25317,7148,25322,16213,25314,81,747,10904,25316,165,9619,883,25315,25320,11329],"class_list":["post-104010","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-architecture","tag-art","tag-books","tag-christopher-de-hamel","tag-clouds-of-sils-maria","tag-fiction","tag-illuminated-manuscripts","tag-ishion-hutchison","tag-jamaica","tag-juliette-binoche","tag-kristen-stewart","tag-libraries","tag-lords-and-commons","tag-marc-yankus","tag-meetings-with-remarkable-manuscripts","tag-movies","tag-novels","tag-olivier-assayas","tag-paleology","tag-poetry","tag-recommended-reading","tag-staff-picks","tag-the-secret-lives-of-buildings","tag-the-summer-book","tag-tove-jansson"],"acf":[],"yoast_head":"\nStaff 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