{"id":105719,"date":"2016-12-12T09:22:26","date_gmt":"2016-12-12T14:22:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=105719"},"modified":"2016-12-12T10:57:23","modified_gmt":"2016-12-12T15:57:23","slug":"self-care-aint-what-it-used-to-be-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/12\/12\/self-care-aint-what-it-used-to-be-and-other-news\/","title":{"rendered":"Self-Care Ain\u2019t What It Used to Be, and Other News"},"content":{"rendered":"<div id=\"attachment_105721\" style=\"width: 810px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/jean-leon_gerome_007.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-105721\" class=\"wp-image-105721 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/jean-leon_gerome_007.jpg\" width=\"800\" height=\"565\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/jean-leon_gerome_007.jpg 800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/jean-leon_gerome_007-300x212.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/jean-leon_gerome_007-768x542.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-105721\" class=\"wp-caption-text\">Jean-L\u00e9on G\u00e9r\u00f4me, <i>La grande piscine de Brousse<\/i>, 1885.<\/p><\/div>\n<ul>\n<li>It\u2019s always a good time to suck the marrow out of language. Just ask advertisers: in recent years they\u2019ve laid claim to the word <em>minimalism,<\/em> evacuating its political-aesthetic lineage and rebranding it to sell sleek, Instagrammable housewares. And now they\u2019ve captured <em>self-care<\/em>, which, as Marisa Meltzer writes, has seen a spike in usage that divorces it from its original radicalism, binding it forevermore to conspicuous consumption: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/12\/10\/fashion\/post-election-anxiety-self-care.html\" target=\"_blank\">The current usage is often traced back to the self-described \u2018black, lesbian, mother, warrior, poet\u2019<\/a>\u00a0Audre Lorde, who wrote in an essay published in her 1988 book, <em>A Burst of Light<\/em>, that \u2018caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare\u2019 \u2026 Gabrielle Moss, author of the Goop parody book, <em>Glop<\/em>, thinks that self-care is starting to (surprise, surprise) lose its meaning and become a marketing tool. \u2018Things that get branded as self-care now have nothing to do with taking care of yourself, like detoxes and juice fasts,\u2019 Ms. Moss said. \u2018I do them because I hate myself, not because I\u2019m taking care of myself. It\u2019s poised to be wrenched away from activists and turned into an excuse to buy an expensive bath oil.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>If you want to read something about Russia that doesn\u2019t contain the words <em>hacking<\/em>, <em>Putin<\/em>, or <em>clandestine plan to undermine American democracy by propping up demagoguery<\/em>, you might try this, by Adam Weiner\u2014it\u2019s about Nikolai Chernyshevsky\u2019s <em>What Is to Be Done?<\/em>, a work of far-fetched political fiction from which Ayn Rand, of all people, borrowed liberally (or libertarianally): \u201c<a href=\"http:\/\/www.politico.com\/magazine\/story\/2016\/12\/russian-novel-chernyshevsky-financial-crisis-revolution-214516\" target=\"_blank\">The novel, once published, did not merely arouse spasms of sarcastic mirth; it also established a bizarre new paradigm of behavior in Russia<\/a>. Rational egoism, though actually built on an immovable foundation of determinism, indulged its followers with the idea of endless personal freedom, depicting again and again an almost miraculous process of transformation by which socially inept people became like aristocrats, prostitutes became honest workers, hack writers became literary giants. For decades after the novel\u2019s publication, in imitation of Chernyshevsky\u2019s fictional heroes, young men would enter into fictitious marriages with young women in order to liberate them from their oppressive families. The nominal husband and wife would obey Chernyshevsky\u2019s rules of communal living, with private rooms for man and wife. In imitation of the sewing cooperative in Chernyshevsky\u2019s novel, communes began sprouting all over the place. As an example, the famous revolutionary Vera Zasulich was, within two years of the publications the novel, working for a communal book bindery, while her sisters and mother joined a sewing cooperative\u2014all of this directly caused by\u00a0<em>What Is to Be Done?<\/em>.\u201d\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Then you can head to the MoMA, whose exhibition \u201cA Revolutionary Impulse: The Rise of the Russian Avant-Garde\u201d offers a more robust portrait of the national spirit than anything you\u2019ll read in the news: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/12\/08\/arts\/design\/the-russian-avant-garde-rising-in-a-revolutionary-impulse.html\" target=\"_blank\">The museum has the most extensive collection of Russian avant-garde art outside Russia, and while this exhibition is not definitive, it provides a fast-paced summary of the movement\u2019s arc of styles, media and social functions<\/a> \u2026 Portions of four films projected in a small gallery provide a quick immersion in the rapid progress of Russian cinema from sentimental narrative to radical innovation to propaganda. We see the famous Odessa steps sequence from Sergei Eisenstein\u2019s\u00a0\u2018Potemkin,\u2019 a reimagining of an incident from the Revolution of 1905 intended to help justify the permanent one of 1917. For the 1929 feature film\u00a0\u2018Man With a Movie Camera,\u2019\u00a0Dziga Vertov filmed an actor rushing from factory to street to traffic stop, toting a camera and tripod to capture the nation\u2019s bustle and productivity, in the face of the fiascos of industrialization and land redistribution. At one point, he sets up his camera in the space between oncoming trolley cars\u2014Russia\u2019s Buster Keaton.\u201d<em>\u00a0<\/em><\/li>\n<\/ul>\n<ul>\n<li>Reading a new manifesto\u2014<em>Garden City Mega City: Rethinking Cities for the Age of Global Warming<\/em>\u2014Daniel Brook looks at the ties between architecture, global warming, and income equality. He starts at the world\u2019s tallest building, in Dubai:\u201c<a href=\"https:\/\/nplusonemag.com\/online-only\/online-only\/unsociable-and-unsustainable\/\" target=\"_blank\">That a tower in the Arabian Desert has a genealogy that runs from Berlin (average January temperature: 30 degrees Fahrenheit) via Chicago (21 degrees) to Seoul (27 degrees) exemplifies everything that is wrong with contemporary architecture<\/a>. On the January day that I visited the Burj Khalifa, the air-conditioning was running full blast as I read the lobby plaque touting the building\u2019s inspiration from \u2018flower-like patterns indigenous to the region.\u2019 But this airlifting in of inappropriate forms abetted by bald-faced local-washing is how the architecture world rolls these days. Western starchitects drop into fast-growing developing-world cities, build their brand with outlandish designs erected by modern-day serfs, pocket the fees, and leave. Speaking to journalists from the first-class lounge in Frankfurt, they dissemble about how their design was \u2018a site-specific response to local conditions.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>St\u00e9phane Mallarm\u00e9\u2019s magnum opus is \u201cUn coup de d\u00e9s jamais n\u2019abolira le hasard\u201d (\u201cOne Toss of the Dice Will Never Abolish Chance\u201d), a twenty-plus-page poem from 1898 that continues to baffle and provoke today: \u201c<a href=\"https:\/\/newrepublic.com\/article\/139257\/poem-foretold-modernism\" target=\"_blank\">Mallarm\u00e9\u2019s transcendence of conventional poetics<\/a>, his spatio-temporal gyrations, his yearning efforts to collapse signifier and signified, his wish to erase all boundaries between word, idea, and object, as well as between art and life, paved the way for innovative Modernist thought and practice in literature, music, visual art, philosophy, modern physics, and even prefigured aspects of today\u2019s digital era. It\u2019s precisely the poem\u2019s difficulty that makes its influence so enduring.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>How Audre Lorde\u2019s phrase has been co-opted by advertisers; a Russian novel\u2019s effect on global politics; starchitects gone mad.<\/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":[13978,1657,10421,26172,687,2441,705,26169,447,26171,19065,10601,26170],"class_list":["post-105719","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-architects","tag-architecture","tag-audre-lorde","tag-burj-khalifa","tag-language","tag-marketing","tag-moma","tag-nikolai-chernyshevsky","tag-russia","tag-russian-avant-garde","tag-self-care","tag-stephane-mallarme","tag-what-is-to-be-done"],"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>The Changing Meaning of \u201cSelf-Care\u201d<\/title>\n<meta name=\"description\" content=\"How Audre Lorde\u2019s phrase has been co-opted by advertisers; 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