{"id":106914,"date":"2017-01-20T19:34:14","date_gmt":"2017-01-21T00:34:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=106914"},"modified":"2017-01-21T09:09:43","modified_gmt":"2017-01-21T14:09:43","slug":"staff-picks-blush-babble-barbed","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/","title":{"rendered":"Staff Picks: Blush, Babble, Barbed Wire"},"content":{"rendered":"
<\/a>

From the cover of Ardour<\/i>.<\/p><\/div>\n

 <\/p>\n

I\u2019ve found much solace in poetry since November, and this week (long live the NEA), it fell on Nicole Brossard\u2019s recent book of poems,\u00a0Ardour<\/a><\/em>, translated from the Quebecois by Angela Carr, to help give my feelings shape. The book\u2019s koan-like epigraph, by Anne Carson\u2014\u201cthink of your life without it\u201d\u2014is apt; the nearly hundred poems in\u00a0Ardour<\/em>\u00a0appear as fragments, but their brevity belies their breadth. Brossard\u2019s poems are often concerned with points or moments of transition (\u201cnightfall\u201d and the horizon appear frequently, as do shifts in light and weather) that, though subtly rendered, can signal profound change. \u201cDawn does not darken,\u201d she writes, \u201cit has upper-case letters \/ can elegantly juxtapose \/ vivid smiles \/ and wounds, if you like.\u201d The poems are flecked with small violences\u2014bites and barbed wire, a \u201cblow of murmurs\u201d\u2014but I feel saved by their intimacy, partly owing to their diminutive size: they feel like whispered truths, or at least consolations. \u201cWhirlwind i also love \/ the species knotted in dog days and l\u2019intimit\u00e9 \/ the very depths of respiration \/ our \u2018us\u2019 enumerated flaming new.\u201d \u2014Nicole Rudick<\/strong><\/p>\n

Last week, Giancarlo Di Trapano turned me on to Suicidal Realism<\/a><\/em>, a short memoir by the Canadian painter Brad Phillips. It\u2019s not exactly an edifying book. Phillips\u2019s main themes are drugs and sex, in that order: \u201cPeople who like to get fucked up with other people are not people I like to get fucked up with.\u201d But Phillips has a watchful intelligence and self-knowledge, and an impatient sincerity, that sneak up on you (or at least,\u00a0snuck up on me). He doesn\u2019t ask to be liked, even by his groupies, but he does want to communicate: \u201cI\u2019m not interested in the ones who are drawn to the creator of the work, I\u2019m interested in the ones who are drawn to the content<\/em>.\u201d \u2014Lorin Stein\u00a0<\/strong><\/p>\n

<\/a>

A photo by Bill Biggart from the \u201cWhose Streets? Our Streets!\u201d exhibition.<\/p><\/div>\n

In The Nation <\/em>this week, Margaret Atwood advocated for \u201cwitness art\u201d: diaries, photographs, anything that elevates facticity and observation. \u201cLet\u2019s hope,\u201d she wrote in a major understatement, \u201cthat if democracy implodes and free speech is suppressed, someone will record the process as it unfolds.\u201d Joe Kloc has gotten a head start with \u201cTower of Babble<\/a>,\u201d which went live on the Harper\u2019s <\/em>site the minute Trump was sworn in. Maybe it\u2019s not witness art so much as artful witnessing: an indefatigable chronicle of every galling deed and speech act our new president has committed to the public record, all of it delivered in that impassive Harper\u2019s<\/em> style. (See also today\u2019s Index<\/a>.) It\u2019s a pure distillate of events and words. Reading it brought me to an almost meditative state of anger. \u2014Dan Piepenbring<\/strong><\/p>\n

The Age of Caesar: Five Roman Lives<\/a><\/u><\/em>, newly translated by Pamela Mensch, brings together selections from Plutarch\u2019s Lives of the Noble Greeks and Romans<\/em><\/a>\u00a0that focus on Rome\u2019s most politically chaotic era. Plutarch\u2019s biographies, written a few decades after Julius Caesar met his end, aren\u2019t concerned with history. They\u2019re essays on character and influence\u2014nonjudgmental essays on morality\u2014and perhaps no other well-documented time in history saw more good-versus-evil political binaries derailed and repurposed in the pursuit of power. No matter what we\u2019re reading at the moment, everything carries the weight of our increasingly vitriolic public discourse, one that would make even the most excitable Roman citizen blush. The story of Cinna the poet, originally told by Plutarch and later repeated and made famous by Shakespeare, provides a timeless example of the way that blameless bystanders often bear the brunt of collective divisions, and how the hoi polloi can be as fallible and rash in their judgment as the most malevolent. \u2014Jeffery Gleaves<\/strong><\/p>\n

<\/a>

From Resist!<\/i><\/p><\/div>\n

I also can\u2019t wait to get my copy of RESIST!<\/em><\/a>, a tabloid newspaper of political comics drawn mostly by women in reaction to the new executive administration. It\u2019s being distributed for free today and tomorrow at various locations and protests across the nation. Selections are available on their website<\/a>. \u2014J.G.<\/strong><\/p>\n

This weekend, the Bronx Documentary Center\u2019s timely exhibition \u201cWhose Streets? Our Streets!<\/a>: New York City, 1980\u20132000\u201d\u00a0<\/em>made it clear to me that tableau vivant<\/em>, that long outmoded art form, is alive and well.<\/em>\u00a0\u201cWhose Streets\u201d displays the work of roughly forty photojournalists who captured ordinary New Yorkers protesting issues such as AIDS, abortion, and police brutality in the eighties and nineties. Their images exude theatricality\u2014faces wrench, arms punch, crowds cling, opposing sides address one another in silence. The photos testify to the power of reflection\u2014which reminded me of tableau, wherein actors reenacted painted scenes in silent stasis, holding a pose for upward of twenty seconds. Before the age of film and photography, tableau allowed audiences to sit with an image, to meditate on its meanings. At the beginning of the twentieth century, suffragettes made use of tableau to win women the right to vote. Similarly, this exhibition\u2019s tableau force us to slow down and engage. Now, \u201cWhose Streets\u201d insists, not only do we have the power to record; we have the power to effect change. \u2014Madeline Medeiros Pereira<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Nicole Brossard\u2019s poems, a memoir by Brad Phillips, Plutarch, \u201cTower of Babble,\u201d 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":[26825,26827,26835,19381,71,136,26829,26826,747,26830,100,26831,165,4617,9619,13630,26833,883,26828,26832,26834,26780],"class_list":["post-106914","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-ardour","tag-brad-phillips","tag-bronx-documentary-center","tag-donald-trump","tag-fiction","tag-harpers","tag-joe-kloc","tag-nicole-brossard","tag-novels","tag-pamela-mensch","tag-photography","tag-plutarch","tag-poetry","tag-protest","tag-recommended-reading","tag-reporting","tag-resist","tag-staff-picks","tag-suicidal-realism","tag-the-age-of-caesar","tag-whose-streets-our-streets","tag-witness-art"],"acf":[],"yoast_head":"\nStaff Picks: Nicole Brossard, Brad Phillips, Plutarch, \u201cTower of Babble\u201d<\/title>\n<meta name=\"description\" content=\"In this week\u2019s staff picks: Nicole Brossard\u2019s poems, a memoir by Brad Phillips, Plutarch, \u201cTower of Babble,\u201d and more.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Blush, Babble, Barbed Wire by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"January 20, 2017 \u2013 In this week\u2019s staff picks: Nicole Brossard\u2019s poems, a memoir by Brad Phillips, Plutarch, \u201cTower of Babble,\u201d and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-01-21T00:34:14+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-01-21T14:09:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/9781770564206_cover_rb_modalcover.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"900\" \/>\n\t<meta property=\"og:image:height\" content=\"688\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Blush, Babble, Barbed Wire\",\"datePublished\":\"2017-01-21T00:34:14+00:00\",\"dateModified\":\"2017-01-21T14:09:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/\"},\"wordCount\":902,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/01\/20\/staff-picks-blush-babble-barbed\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/01\/9781770564206_cover_rb_modalcover.jpg\",\"keywords\":[\"Ardour\",\"Brad Phillips\",\"Bronx Documentary Center\",\"Donald Trump\",\"fiction\",\"Harper's\",\"Joe Kloc\",\"Nicole Brossard\",\"novels\",\"Pamela Mensch\",\"photography\",\"Plutarch\",\"poetry\",\"protest\",\"Recommended Reading\",\"reporting\",\"Resist!\",\"staff picks\",\"Suicidal Realism\",\"The Age of Caesar\",\"Whose Streets? 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