{"id":106414,"date":"2017-01-05T09:15:01","date_gmt":"2017-01-05T14:15:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=106414"},"modified":"2017-01-05T10:18:24","modified_gmt":"2017-01-05T15:18:24","slug":"cool-manifesto-bro-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/05\/cool-manifesto-bro-and-other-news\/","title":{"rendered":"Cool Manifesto, Bro, and Other News"},"content":{"rendered":"<div id=\"attachment_106415\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-106415\" class=\"wp-image-106415\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5.jpg\" width=\"1000\" height=\"668\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5.jpg 1600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5-768x513.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/catemanifesto5-1024x684.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-106415\" class=\"wp-caption-text\">Cate Blanchett in <i>Manifesto<\/i>.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Everyone loves a manifesto\u2014in theory, anyway. Throwing down the gauntlet, beating one\u2019s chest, issuing a reverberating cri de coeur about the one path of the true artist \u2026 it\u2019s a time-honored way for young people to pass a Friday night. But most manifestoes make for boring reading, their vim notwithstanding. They\u2019re full of pretensions and straw men and hollow self-congratulation. Julian Rosefeldt\u2019s <em>Manifesto<\/em>, a series of thirteen videos featuring Cate Blanchett, asks us to reconsider the self-serving ambitions of such texts. Blanchett inhabits various rhetorical stereotypes\u2014a conservative mom, a homeless person, a eulogizer\u2014to perform some of the greatest hits of the manifesto canon, including the futurists, the situationists, and the minimalists. Liza Batkin writes, \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/01\/04\/art-that-wont-stop-talking-rosefeldt-manifesto\/\">Having each of the manifestos spoken by a female character \u2026 serves to remind us that almost all of the manifestos cited in the exhibition catalogue were written by men<\/a> (forty-three out of the fifty); they are, as Rosefeldt observes, \u2018just bursting with testosterone. Art historians,\u2019 he says, \u2018tend to regard everything created and written by artists with reverence and respect, as if, from day one, the artists themselves intended their work to become part of art history. But we shouldn\u2019t forget that these texts were usually written by very young men who had barely left their parents\u2019 house when they reached for the pen.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>So let\u2019s not call this next bit a manifesto: In 1960, Denise Levertov contributed a piece about the power and responsibility of poetry to an anthology, <em>The New American Poetry<\/em>. Maria Popova has just rediscovered Levertov\u2019s words: \u201c<a href=\"https:\/\/www.brainpickings.org\/2017\/01\/05\/denise-levertov-statement-on-poetics\/\">I do not believe that a violent imitation of the horrors of our times is the concern of poetry<\/a>. Horrors are taken for granted. Disorder is ordinary. People in general take more and more \u2018in their stride\u2019\u2014the hides grow thicker. I long for poems of an inner harmony in utter contrast to the chaos in which they exist. Insofar as poetry has a social function it is to awaken sleepers by other means than shock.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>As you\u2019ve probably heard by now, Mariah Carey had a rough go of it on New Year\u2019s Eve. Her performance on <em>Dick Clark\u2019s New Year\u2019s Rockin\u2019 Eve with Ryan Seacrest\u2014<\/em>probably the best name for any television show in history\u2014devolved into a gripping combination of technical difficulties and inspired preening. Amanda Petrusich sees it as the perfect capstone for 2016, and I couldn\u2019t agree more: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/mariah-careys-rather-perfect-farewell-to-2016\">In my favorite moment of the nearly six-minute performance, Carey yelled, \u2018Bring the feathers on!\u2019 The dancers were already in place<\/a>. \u2018Yes!\u2019 she added, as they fell into perfect alignment around her. \u2018It just don\u2019t get any better.\u2019 For anyone who might have endured an especially draining 2016, it was not hard to find this coda\u2014defeated, bewildered, sarcastic\u2014cosmically apt. It felt like a startlingly on-the-nose metaphor for the strange act of going about routine tasks while the world dissembles \u2026 That this has inspired outrage\u2014that people felt fundamentally cheated or bamboozled by a forty-six-year-old woman fudging the high notes while wearing no pants, in freezing temperatures, on a temporary stage erected in the middle of Broadway\u2014feels silly, but telling. In an era in which so much of what we are promised is true is in fact manipulated, if not faked, it doesn\u2019t seem unreasonable that we are all now confused about where to direct our bubbling ire.\u201d<\/li>\n<\/ul>\n<ul>\n<li><em>The Times Literary Supplement <\/em>has resurfaced this scathing 1972 Anthony Burgess piece about being a book reviewer. It\u2019s all still true: \u201c<a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/sensationally-stupid\/\">Of ordinary reviews\u2014those one finds in the Sundays or weeklies\u2014it is hard to say anything good<\/a>. Even when they praise, they cannot resist cleverness at the expense of the reviewed: they approve, but from a height: they imply that their own prescription for a good piece of writing seems to have been fulfilled: this patient is fit enough but, of course, he will have to watch his health. When they dispraise, they neither damage the sale of the book\u2014whose quality the reader must find out for himself anyway\u2014nor help the writer to reform his faults. Usually the writer knows far better than the reviewer what his faults are, and if he could get rid of them he would \u2026 If you want good reviews, it is best\u2014if you can afford it\u2014to be like Alroy Kear in\u00a0<em>Cakes and Ale\u00a0<\/em>and invite the reviewer out to luncheon. You do not explain your artistic aims, you merely feed him well, and then he associates your next book with a remembered physical pleasure.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It feels great to solve an eighty-year-old mystery. I don\u2019t say that from experience; I\u2019m just hazarding a guess. But a man from Brooklyn has recovered a tattered, 180-page booklet by Luis de Carvajal, a secret Jew from the sixteenth century who was burned at the stake by the Inquisition in Spain\u2019s colony of Mexico. Joseph Berger explains: \u201c<a href=\"http:\/\/www.nytimes.com\/2017\/01\/01\/arts\/a-secret-jew-the-new-world-a-lost-book-mystery-solved.html\">Almost nothing was heard about the document for more than eighty years\u2014until it showed up thirteen months ago at a London auction house<\/a>. The manuscript was on sale for $1,500, because the house had little sense of its value. Last year the relic caught the eye of a prominent collector of Judaica, Leonard Milberg, when it showed up for resale at the Swann Galleries in Manhattan. It was now priced at more than fifty times what it had sold for just a few months earlier in England. Mr. Milberg consulted a variety of experts, who told him it might be the actual manuscript, and worth as much as $500,000. They also warned him to be careful \u2014 the original had been reported stolen.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Cate Blanchett performs manifestoes, Anthony Burgess hates critics, and Mariah Carey\u2019s gaffe is 2016\u2019s ultimate send-off.<\/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":[20660,2286,18368,26507,16111,26512,26509,26511,24290,26508,26510,6017,165,21950],"class_list":["post-106414","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-20660","tag-anthony-burgess","tag-book-critics","tag-cate-blanchett","tag-denise-levertov","tag-judaica","tag-julian-rosefeldt","tag-luis-de-carvajal","tag-manifesto","tag-manifestoes","tag-mariah-carey","tag-new-years-eve","tag-poetry","tag-reviewers"],"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>\u201cManifesto\u201d Turns Artists Words\u2019 on Their Heads<\/title>\n<meta name=\"description\" content=\"In today\u2019s roundup: 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