{"id":106675,"date":"2017-01-12T07:48:34","date_gmt":"2017-01-12T12:48:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=106675"},"modified":"2017-01-12T10:59:23","modified_gmt":"2017-01-12T15:59:23","slug":"how-to-be-authentic-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/12\/how-to-be-authentic-and-other-news\/","title":{"rendered":"How to Be Authentic, and Other News"},"content":{"rendered":"<div id=\"attachment_106676\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-106676\" class=\"wp-image-106676\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project.jpg\" width=\"1000\" height=\"783\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project.jpg 2000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project-300x235.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project-768x601.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/nash_paul_-_we_are_making_a_new_world_-_google_art_project-1024x802.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-106676\" class=\"wp-caption-text\">Paul Nash, <i>We Are Making a New World<\/i>, 1918.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>With Obama\u2019s last presidential speech behind him\u2014and with churlish inarticulacy personified prepared to take his place\u2014Christian Lorentzen wonders how the literature of the past eight years will be remembered: \u201c<a href=\"http:\/\/www.vulture.com\/2017\/01\/considering-the-novel-in-the-age-of-obama.html\" target=\"_blank\">What will we mean when someday we refer to Obama Lit? I think we\u2019ll be discussing novels about authenticity, or about \u2018problems of authenticity.\u2019<\/a> What does that mean? After the Bush years, sheer knowingness and artifice that called attention to itself had come to seem flimsy foundations for the novel. Authenticity succeeded storytelling abundance as the prime value of fiction, which meant that artifice now required plausible deniability. The new problems for the novelist became, therefore,\u00a0<em>how to be authentic\u00a0<\/em>(or\u00a0<em>how to create an authentic character<\/em>) and\u00a0<em>how to achieve \u2018authenticity effects\u2019\u00a0<\/em>(or<em>\u00a0how to make artifice seem as true or truer than the real<\/em>).\u201d<\/li>\n<\/ul>\n<ul>\n<li>And looking forward, Alexandra Alter asks what the Trump era portends for conservative book imprints, those most maligned redheaded stepchildren of the publishing industry: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/01\/10\/business\/media\/publishers-encounter-political-storms-in-turn-to-right.html\" target=\"_blank\">Without conservatives filling the role as the voice of opposition, the urgency and potency of right-wing books will almost certainly be diminished<\/a>. And with the political principles that conservative writers have advocated\u2014the repeal of Obamacare, a crackdown on immigration and the dismantling of environmental regulations\u2014set to become the policy goals of a Republican-led government, the commercial future of conservative publishing looks far more unsettled \u2026 Will books that hold Mr. Trump accountable to his campaign pledges alienate his supporters, and will mainstream Republican politicians and pundits appeal to or repel his base? Will voices from more extreme wings of the Republican Party find a bigger foothold in publishing, further cementing their place in mainstream political discourse?\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>In a new interview, the photographer Ren\u00e9e Cox casts a cold eye on Beyonc\u00e9\u2019s embrace of Black Power aesthetics: \u201c<a href=\"http:\/\/aperture.org\/blog\/renee-cox-taste-power\/\">Before speaking with you, I said to my assistant, \u2018Let me try to be politically correct here<\/a>. I don\u2019t want the \u201cBey-hive\u201d coming after me.\u2019 She\u2019s talented and has a good team around her to make her look good. I give her that. But \u2026 [\u2018Formation\u2019] it\u2019s not coming from any real place. I didn\u2019t hear her say \u2018Stop killing black young men\u2019 and see her put her fists \u2028up in the air. No, she didn\u2019t do that. I\u2019m sorry, but to me that was pure nothingness. How did that performance represent the Black Panthers? The Black Panthers were trying to get breakfast for kids and trying to protect their communities, before they were destroyed by Hoover and the FBI. You\u2019re just talking about the sensational part of the Panthers: the guns, the black leather jacket, and the black beret \u2026 \u2018I\u2019m a feminist.\u2019 \u2018Put a ring on it.\u2019 Oh, okay, great. Come on! I don\u2019t even call myself a feminist. I just believe that women should have the same rights as men, and be treated and paid accordingly. Simple. I hate to say it, but the whole feminist movement was for white women who lived in the suburbs, and in some ways they killed it for themselves. Men have been treating women badly for centuries. So continue with the chivalry.\u201d<\/li>\n<\/ul>\n<ul>\n<li>The philosopher Richard Rorty has enjoyed a posthumous celebrity since a prescient passage from his 1998 book <em>Achieving Our Country<\/em> made the rounds after the election. (You know, the one that predicted Trump\u2019s rise with almost painful specificity?) Stephen Metcalf says that anyone who picks up the book, which is now being reprinted, will be surprised to find that it\u2019s about \u201cthe left\u2019s tragic loss of national pride\u201d: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/richard-rortys-philosophical-argument-for-national-pride?intcid=mod-latest\" target=\"_blank\">The principal object of Rorty\u2019s derision was neither identity politics nor the rise of an ignoble free-market right but a peculiar form of decadence, which his larger intellectual project aimed to counter<\/a> \u2026 The \u2018Foucauldian\u2019 left, he writes in <em>Achieving Our Country<\/em>, \u2018represents an unfortunate regression to the Marxist obsession with scientific rigor.\u2019 In the specific case of Foucault, this involved locating the \u2018ubiquitous specter\u2019 known as \u2018power\u2019 everywhere, and conceding that we are without agency in its presence. \u2018To step into the intellectual world which some of these leftists inhabit is to move out of a world in which citizens of a democracy can join forces to resist sadism and selfishness into a Gothic world in which democratic politics has become a farce,\u2019 he writes.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Alice Spawls revisits the life and work of Paul Nash, the painter best known for capturing \u201cthe phantasmagoric atmosphere of No Man\u2019s Land\u201d: \u201c <a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/independent-life\/\" target=\"_blank\">\u2018I am no longer an artist,\u2019 he wrote in a (now notorious) letter; \u2018I am a messenger to those who want the war to go on for ever \u2026 may it burn their lousy souls.\u2019<\/a> He came under frequent shellfire and described the experience as \u2018unspeakable, godless, hopeless &#8230; sunset and sunrise are blasphemous, they are mockeries to man.\u2019 When he returned home he painted in oil for the first time: dense, crowded and distinctly ungraceful images of a churned and ravaged landscape, where, especially in the bitterly titled \u2018We Are Making a New World,\u2019 the sun rises innocently (the long white beams bisect the canvas) on scenes of devastation.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Christian Lorentzen on Obama-era lit, Ren\u00e9e Cox on Beyonc\u00e9&#8217;s black-power aesthetics, and more.<\/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":[17041,7589,12887,26702,19381,504,9729,4154,26704,7403,100,26703,25672,26701,7740],"class_list":["post-106675","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-authenticity","tag-barack-obama","tag-beyonce","tag-conservative-publishing","tag-donald-trump","tag-literature","tag-michel-foucault","tag-paintings","tag-paul-nash","tag-philosophy","tag-photography","tag-renee-cox","tag-richard-rorty","tag-the-obama-years","tag-world-war-i"],"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>Looking Back at the Literature of the Obama Years<\/title>\n<meta name=\"description\" content=\"In today\u2019s 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