{"id":107320,"date":"2017-02-02T09:34:56","date_gmt":"2017-02-02T14:34:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=107320"},"modified":"2017-02-02T10:21:41","modified_gmt":"2017-02-02T15:21:41","slug":"puppets-are-doing-just-fine-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/02\/02\/puppets-are-doing-just-fine-and-other-news\/","title":{"rendered":"Puppets Are Doing Just Fine, and Other News"},"content":{"rendered":"<div id=\"attachment_107321\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-107321\" class=\"wp-image-107321\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets.jpg\" width=\"1000\" height=\"754\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets.jpg 2972w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets-300x226.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets-768x579.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/quixotepuppets-1024x772.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-107321\" class=\"wp-caption-text\">Look at \u2019em go!<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>One fun thing you can do with art is: use it to tell people what assholes they are. This is easy to try, but hard to master. Shahak Shapira, an Israeli-German writer, has the knack for it; his \u201cYOLOCAUST\u201d project publically shames anyone who\u2019s ignorant enough to take a selfie at the Holocaust memorial. Alicia Eler writes, \u201c<a href=\"http:\/\/hyperallergic.com\/354567\/an-online-project-shames-selfie-takers-at-berlins-holocaust-memorial\/\" target=\"_blank\">He simply manipulated\u00a0the original selfies at the memorial to include\u00a0actual photos of Nazi crimes, which range from piles of dead bodies to pictures of starving people jailed in concentration camp bunks<\/a>. The seamless Photoshopping job was what really made this project click. Upon visiting Yolocaust.de, which launched mid-January, you\u2019d find various people\u2019s selfies at the Holocaust memorial. However, if you moved your mouse over them, the once-joyful images transformed into the Photoshopped ones of Nazi death camps. Within one week of launching, the page was visited by 2.5 million people, and all twelve people Shapira featured\u00a0in the project had taken their photos off of social media and also apologized \u2026 The artist invited the people in the pictures to contact him asking that he take their pictures down, simply by e-mailing undouche.me@yolocaust.de.\u201d<\/li>\n<\/ul>\n<ul>\n<li>So many once-thriving art forms are headed for obscurity; so many robust traditions have been lost to the sands of time. But not puppetry. Puppetry is doing great. Laura Collins-Hughes writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/01\/31\/theater\/puppet-artists-chicago-international-puppet-theater-festival.html?rref=collection%2Fsectioncollection%2Farts&amp;_r=0\" target=\"_blank\">It\u2019s not so much that puppetry is having an evanescent moment as that it has reached critical mass and settled in, cherished by grown-up audiences raised on <em>Sesame Street<\/em> and <em>The Muppet Show<\/em> who have had their hunger stoked by landmark puppet productions on Broadway<\/a> \u2026 Cheryl Henson\u2014a daughter of the Muppets\u2019 creator, Jim Henson, and the president of the\u00a0Jim Henson Foundation, a major force in contemporary puppet theater\u2014said that American puppeteers had caught up to the European standard of the craft.\u201d (Or the Russian standard, if we\u2019re talking about Putin the puppeteer\u2014am I right? Thanks, everyone. Thank you. Hold your applause.)<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Reading Henry Green, Sarah Nicole Prickett teases out the horror he felt for himself, and\u2014bonus!\u2014she quotes his choice advice for lovers: \u201c<a href=\"http:\/\/www.bookforum.com\/inprint\/023_05\/17177\" target=\"_blank\">Henry Green would have said that he was not a genius<\/a>. Woolf was a genius. Green did however have a genius loci, and his locus was nothing less than the deep, the inexplicable void, which for him was the self. Thank God he didn\u2019t master this domain. There are enough good novels with relatable, memorable characters, characters who remind us of ourselves. It\u2019s uneasier reading Green, who does the same thing by reminding us of no one. I said you would fall in love with him, but I forgot to tell you how, in 1955, he described the act. \u2018A man who falls in love is a sick man, he has a kind of what used to be called green sickness,\u2019 he wrote. As for love, it is \u2018a human misfortune cultivated by novelists. It is the horror we feel of ourselves, that is of being alone with ourselves, which draws us to love, but this love should happen only once, and never be repeated, if we have \u2026 learnt our lesson, which is that we are, all and each one of us, always and always alone.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Meanwhile, Richard Brody revisits Philip Roth\u2019s fearful counterfactual: \u201c<em><a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/the-frightening-lessons-of-philip-roths-the-plot-against-america?intcid=mod-latest\" target=\"_blank\">The Plot Against America<\/a><\/em><a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/the-frightening-lessons-of-philip-roths-the-plot-against-america?intcid=mod-latest\" target=\"_blank\"> dramatizes the American character as vast, manifold, and inchoate<\/a>; it can use its prodigious and uninhibited energy for good or for evil, and it shifts under the sudden force of unforeseeable events. The shifts and pivots of the American nation at large are also those of each individual American. The grand political stage and the intimate life are inseparable; identity itself is inextricable from the currents of history. The novel\u2019s mighty psychological weight rests upon a terrifyingly delicate balance of circumstances that depend on whims of chance.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Pynchon\u2019s <em>Gravity\u2019s Rainbow <\/em>was many things, and one of them, Jeffrey Severs argues, is a savage parody of Seattle\u2019s 1962 Century 21 Exhibition, which represented to Pynchon everything wrong with our idea of the future. Tim Appelo explains, \u201c<a href=\"http:\/\/seattlemag.com\/how-thomas-pynchon-turned-seattle-nazi-germany\" target=\"_blank\">Pynchon blended the Fair with Nazi Germany. Both Century 21 and the novel\u2019s setting\u2014a combination of Germany 1945 and a nuclear apocalypse\u2014were billed as Cities of the Future<\/a>. Jet City, as Seattle was known thanks to Boeing, became Pynchon\u2019s Rocket City, an \u2018oppressive realm of performance, spectacle and exhibitions,\u2019 Severs notes, with monorail-like elevated trains and a mad photographer who is \u2018a habitu\u00e9 of mercury fumes,\u2019 like Mad Hatters and switch-crazed nuke launchers. Rocket City has a flame-topped tower (like the Space Needle\u2019s natural gas flame in \u201962), with an observation deck looking out on Seattle weather \u2018washed and darkening cloud sheets \u2026 a magnificent sky, marble carried to a wildness of white billow and candescence.\u2019 Its futuristically fast elevator combines the Needle with the Bubbleator, whose operators, like the novel\u2019s, were all tall, striking females.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: puppetry ascendant; publicly shaming Holocaust memorial selfie-takers; Henry Green\u2019s idea of love; 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":[1124,1516,27054,5619,99,23095,27056,15183,14581,7479,3167,27055,9198,4386,27053],"class_list":["post-107320","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-gravitys-rainbow","tag-henry-green","tag-holocaust-memorial","tag-jim-henson","tag-philip-roth","tag-public-shaming","tag-puppetry","tag-puppets","tag-rockets","tag-satire","tag-seattle","tag-shahak-shapira","tag-the-plot-against-america","tag-thomas-pynchon","tag-yolocaust"],"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 Puppets Are Doing Just Fine, Thanks for Asking<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news roundup: puppetry ascendant; 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