{"id":105697,"date":"2016-12-09T14:51:23","date_gmt":"2016-12-09T19:51:23","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=105697"},"modified":"2016-12-09T15:41:39","modified_gmt":"2016-12-09T20:41:39","slug":"105697","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/12\/09\/105697\/","title":{"rendered":"Staff Picks: Tests, Tongues, Tinfoil Orbs"},"content":{"rendered":"
<\/a>

Rorschach\u00a0psychodiagnostics.<\/p><\/div>\n

 <\/p>\n

From the first chapter of The Inkblots: Hermann Rorschach, His Iconic Test, and the Power of Seeing<\/a><\/em>, 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 \u201cpsychodiagnostics,\u201d a series of symmetrical multicolored forms (they weren\u2019t really inkblots) that could reveal hidden aspects of the mind.\u00a0One 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\u2019s 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. \u2014Lorin Stein<\/strong><\/p>\n

I have a galley of Layli Long Soldier\u2019s debut collection but have put off digging into it partly because it doesn\u2019t come out until March. Given the events at Standing Rock earlier this week, it seemed the ideal moment to read the long, multipart poem\u00a0Whereas<\/a><\/em>, Long Soldier\u2019s response to President Obama\u2019s 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\u00a0whereas<\/em>, 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\u2019s limitations, which she faces again and again, and her weariness\u2014bodily, psychically, culturally\u2014infects the poem: \u201cHow much must I labor \/\/ to signify what\u2019s real \u2026 Really, I climb the back of languages, ride them into exhaustion\u2014maybe pull the reins when I mean go \u2026 Stuck, I want off. Let loose from the impulse to note:\u00a0Beware, a horse isn\u2019t a reference to my heritage<\/em>.\u201d The personal is political here, and vice versa, and Long Soldier isn\u2019t giving up. \u201cThe root of reparation,\u201d she writes, \u201cis repair.\u201d \u2014Nicole Rudick\u00a0<\/strong><\/p>\n

<\/a>

From Lost Coast<\/i>.<\/p><\/div>\n

The center of the photographer Curran Hatleberg\u2019s new book,\u00a0Lost Coast<\/a><\/em>,\u00a0<\/em>is an image of a man seated in a ramshackle garage levitating a tinfoil orb. The garage is cold, with grimy windows, cans, and threadbare blankets, and the man\u2019s splayed thumbs barely graze the sides of the orb. It\u2019s equally possible that this is a decontextualized practical act or that it\u2019s literal magic: such is the bewitching alchemy of\u00a0Lost Coast.<\/em>\u00a0The images are all made in Eureka, California, but Hatleberg\u2019s tour of modulating lights and landscapes suggests a place much less specific, a sort of general American back-alley. The effect is a world that is recognizable but insistently aslant\u2014and one that is distinctly photographic. It\u2019s the presence of Hatleberg\u2019s camera, in the end, that transforms the detritus of the everyday (rain barrels, dogs, shopping carts, gas cans, flowers) into something rapturous. An aggressive frame disembodies a hand. A lens evokes a light so tactile that it seems to have been sprayed through the air. And the orb picture\u2014it\u2019s the flash slipping across the mottled surface of the foil that makes the orb otherworldly, the dull and unnatural glow evoking a magic that seems native to the garage.\u00a0Lost Coast\u00a0<\/em>is a reminder that the camera\u2019s Midas touch can be subtle: it can take the nuts and bolts of postindustrial rural America and transform them into a myth barely distinct from the real. \u2014Sylvie McNamara<\/strong><\/p>\n

What language did Adam speak? The question may sound naive, but it was a source of long debates among medieval Muslim philosophers. In The Tongue of Adam<\/a><\/em>, the Moroccan scholar Abdelfattah Kilito revisits these arguments\u2014and related questions about the evolution of speech, the relation of humans to God, the reliability of history, and the difference between poetry and prophecy\u2014with a playfulness and wit that remind me of Lewis Hyde. \u2014L.S.<\/strong><\/p>\n

<\/a>

Still from Artists and Models<\/i>.<\/p><\/div>\n

I\u2019ve hardly ever laughed so hard as I did watching Frank Tashlin\u2019s 1955\u00a0Artists and Models<\/a><\/em>, starring Dean Martin and Jerry Lewis. It\u2019s a classic story\u2014two fellas, a writer and an artist, trying to hack it in New York. They fall in love with two women in their building\u2014a successful comic-book artist (Dorothy Malone) and her roommate (Shirley MacLaine). The story itself takes some weird, cartoonish turns involving the CIA and Soviet spies, but it\u2019s full of the gags on gags on gags that Tashlin\u2019s films are famous for. This is a man who loves to slip as many jokes as he can into a single frame. My favorite scene, in which the darling MacLaine serenades Lewis with an Italian love song, makes essentially the same joke half a dozen times. He\u2019s coming back to the apartment with an armful of beach gear, including a foldout lawn chair; she\u2019s singing on the stairway landing and bursts into the chorus right as he rounds the top of the stairs, startling him into flinging his gear through the air. As soon as he\u2019s finished gathering it all up again, she hits another high note and he\u2019s startled anew. I\u2019m no good at retelling jokes, though\u2014watch the clip\u00a0here<\/a>. \u2014Caitlin Love<\/strong><\/p>\n

GQ<\/em>\u2019s new oral history of Prince<\/a> is among the most generous, vibrant portraits to emerge since his death. Of course it\u2019s built on surreal stories\u2014omelets are cooked, hardware stores visited, lace panties deployed as pocket squares\u2014but these are girded by a sense of his intellect, humor, and solicitude that was often missing in the obituaries this April. Chaka Khan\u2019s was one of many remembrances that made me well up: \u201cI just wish people to know that he was a really sweet, loving person. But he denied himself a lot of what people had to offer. I don\u2019t know why. Who knows?\u201d And Van Jones lands on the best metaphors I\u2019ve heard for Prince\u2019s vigilant mind, his unobstructed, almost logorrheic creativity: \u201cPrince wrote music the way you write e-mails, okay? If you were transported to some world where the ability to write e-mails was some rare thing, you would be Prince \u2026 But he had no expectation, he was just being himself. It\u2019s like you cut the water faucet on\u2014I don\u2019t think the faucet is sitting there thinking, \u2018This is the best water ever!\u2019 The faucet is just doing what the faucet does. That\u2019s kind of how he was.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Layli Long Soldier\u2019s debut poetry collection, a biography of Hermann Rorschach and his inkblot test, an oral history of Prince, and more.<\/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":[26163,17,775,26166,26161,6739,5456,71,26162,2075,26158,26164,26159,269,747,9459,100,165,1329,9619,883,26157,26165,26160],"class_list":["post-105697","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-artists-and-models","tag-books","tag-california","tag-chaka-khan","tag-curran-hatleberg","tag-damion-searls","tag-dean-martin","tag-fiction","tag-frank-tashlin","tag-gq","tag-hermann-rorschach","tag-jerry-lewis","tag-layli-long-solider","tag-magazines","tag-novels","tag-oral-history","tag-photography","tag-poetry","tag-prince","tag-recommended-reading","tag-staff-picks","tag-the-inkblots","tag-van-jones","tag-whereas"],"acf":[],"yoast_head":"\nWhat We\u2019re Reading This Week<\/title>\n<meta name=\"description\" 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