{"id":107604,"date":"2017-02-10T09:22:00","date_gmt":"2017-02-10T14:22:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=107604"},"modified":"2017-02-12T12:05:52","modified_gmt":"2017-02-12T17:05:52","slug":"the-true-face-of-fitzwilliam-darcy-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/02\/10\/the-true-face-of-fitzwilliam-darcy-and-other-news\/","title":{"rendered":"The True Face of Fitzwilliam Darcy, and Other News"},"content":{"rendered":"<div id=\"attachment_107605\" style=\"width: 670px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/darcy.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-107605\" class=\"wp-image-107605 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/darcy.jpg\" width=\"660\" height=\"371\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/darcy.jpg 660w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/02\/darcy-300x169.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-107605\" class=\"wp-caption-text\">Look away, look away!<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Listen, before I break the bad news, I want to say something: we all love hunks. No one is saying that hunks are bad, or that you don\u2019t deserve a hunk in your life, let alone\u00a0your fantasies. It\u2019s just \u2026 are you sitting down? \u2026 Mr. Darcy was probably not a hunk, if we\u2019re being honest. I know, I know, you\u2019ve been turning the pages of <em>Pride and Prejudice <\/em>imagining Colin Firth for years now\u2014we all have\u2014that guy\u2019s cut from fucking marble<em>. <\/em>But two professors have generated \u201cthe first historically accurate portrait\u201d of Mr. Darcy and\u2014think about it\u2014why <em>would <\/em>he be a hunk? He was a gentleman, not a laborer! Kimiko de Freytas-Tamura writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/02\/09\/books\/colin-firth-mr-darcy.html\" target=\"_blank\">The \u2018real\u2019 Mr. Darcy\u00a0would have been pale and pointy-chinned, and would have had a long nose on an oval, beardless face<\/a>. His hair, strangely, would have been white. And he would have been slightly undernourished, with sloping shoulders\u2014\u2018more ballet dancer than beefcake,\u2019 according to one of the authors \u2026 A real-life Mr. Darcy in that era would have been a \u2018far cry from muscular modern-day television representations\u2019 portrayed by actors such as Mr. Firth, Elliot Cowan and Matthew Macfadyen, the study concluded.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Alexander Nazaryan stopped by our office to talk about literature in the age of Trump, and to go spelunking in our back issues: \u201c<a href=\"http:\/\/www.newsweek.com\/2017\/02\/17\/paris-review-george-plimpton-digital-archive-552418.html\" target=\"_blank\">Diving into the digital archive, as I did, is a bracing reminder of the artist\u2019s duty in times of national crisis\u2014and there were very few times in the\u00a0<em>Review<\/em>\u2019s first two decades when the nation wasn\u2019t in crisis<\/a> \u2026 Thus you have William Styron\u00a0<a href=\"https:\/\/www.theparisreview.org\/fiction\/4409\/ifrom-i-the-confessions-of-nat-turner-william-styron\">publishing an excerpt<\/a>\u00a0from his hotly debated\u00a0<em>The Confessions of Nat Turner<\/em>, a novel of racial violence for a nation fighting over race anew; Edward Hoagland\u2019s short story\u00a0\u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/4312\/the-witness-edward-hoagland\">The Witness<\/a>\u201d\u00a0(1967), written from the perspective of a young man in New York \u2018full of minority sympathy\u2019; the poet Ted Berrigan,\u00a0<a href=\"https:\/\/www.theparisreview.org\/poetry\/4207\/three-poems-ted-berrigan\">writing in 1968<\/a>, in the bleakest days of Vietnam: \u2018The War goes on &amp; \/ war is Shit\u2019;\u00a0<a href=\"https:\/\/www.theparisreview.org\/poetry\/1606\/the-world-trade-center-david-lehman\">David Lehman admitting in 1995<\/a>\u00a0that he\u2019d never liked the towers of the World Trade Center, but after they were bombed in 1993, he suddenly came to appreciate \u201cthe way the tops \/ of the towers dissolve into white skies \/ in the east when you cross the Hudson\u201d; the violent silhouettes of slavery life by artist Kara Walker, published in the\u00a0<em>Review<\/em><em>\u00a0<\/em>in 1999, seven years before her career-making solo exhibition at the Museum of Modern Art.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>In Paris, an exhibition called \u201cShoah et Bande Dessin\u00e9e\u201d (\u201cThe Holocaust and Comics\u201d) mounts a provocative case for drawings, graphic novels, and comic books as media through which to avoid Holocaust fatigue. Joshua Lambert writes, \u201c<a href=\"http:\/\/forward.com\/culture\/361784\/how-comics-help-us-combat-holocaust-fatigue\/\" target=\"_blank\">What Shoah et Bande Dessin\u00e9e\u00a0can help us to appreciate is how important, and how powerful, it is for a topic that demands reverence to be treated in a medium that is allergic to it<\/a>. Comics consistently, if not inevitably, stylize and simplify and exaggerate, and\u2014no matter how many prizes are won, or how many dissertations are written about the medium\u2019s vast artistic potential\u2014they never let their audiences forget their roots in shoddy printing and cheap entertainment.\u00a0One of the challenges to Holocaust memorialization is, and has always been, the ubiquity of easy, meaningless clich\u00e9s \u2026 Comics can disarm such reactions precisely because they are so profoundly wrong for the job \u2026 This is a highly unnatural, profoundly deliberate way of communicating. Comics keep it weird, which gives them the power to stop us from feeling like we\u2019ve already seen it all.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Attempting to get his career in academia off the ground, Josh Roiland went so deep into debt that he found himself in Lewiston, Maine, selling his blood plasma for extra cash. \u201c<a href=\"https:\/\/longreads.com\/2017\/02\/09\/a-shot-in-the-arm\/\" target=\"_blank\">Driving to Lewiston to give plasma is, no doubt, a dramatic gesture<\/a>,\u201d he writes. \u201cAs my poverty-studies colleague chastised me: What alternatives did I explore before relying on some histrionic plan like driving for two hours to give plasma? Did I try to get a part-time job? Surely I could have found something in the summer to earn some side cash? I could have copyedited. I could have become a test scorer for ETS or Pearson. I could have hauled sugar beets during October harvest. (All are jobs that other academic friends have taken up to boost their income.) \u2026 On my third trip to Lewiston, I walked in on the clients captivated by the Olympic dressage competition. I signed in, took a seat, and joined them. There we were, dozens of us anxious for cash, watching fancy horses mounted by fancy riders tap dancing around an arena. The room was silent. We were rapt. The irony lost, or at least unspoken, among us; each distracted from the reality of why we were there.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Now that we\u2019ve turned a geopolitical corner and nothing is the same and up is down and left is right and the rule book has been tossed into the fire and its ashes are raining down on all of Earth day after day, Alex Preston wonders how novelists will respond: \u201c<a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/fictional-tour-capitalism\/\" target=\"_blank\">Historical seizures have tended to elicit dramatic artistic responses<\/a>\u2014Romanticism as a response to the Industrial Revolution; Modernism giving voice to the waste lands of the First World War. What will be the\u00a0<em>Ulysses\u00a0<\/em>of the age of Trump, or the \u201cPrelude,\u201d or the\u00a0<em>Infinite Jest<\/em>? \u2026 It seems strange, perhaps, to turn to that most nineteenth-century medium, the novel, as a means of comprehending this age of slippery truths, online hive-minds and globalized financial services. Yet there is still no better way to transcribe the quiddity of existence, to burrow deep inside the experience of others. Novels make us do something habitually that we only find in occasional glimpses in even the best nonfiction\u2014to ask ourselves what we would do in similar circumstances, to feel our way into other worlds.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: stripping a Regency hunk of his status; selling blood plasma as a humanities professor; 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":[4387,27197,21426,131,21464,25912,71,27195,300,11346,12170,13729,5425,27196,13874,426,19765],"class_list":["post-107604","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-academia","tag-blood-plasma","tag-colin-firth","tag-comics","tag-debt","tag-digital-archive","tag-fiction","tag-hunks","tag-jane-austen","tag-mr-darcy","tag-newsweek","tag-novelists","tag-pride-and-prejudice","tag-shoah-et-bande-desinee","tag-the-holocaust","tag-the-paris-review","tag-victorian-england"],"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 True Face of Mr. Darcy Is Revealed\u2014and He\u2019s No Colin Firth<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news roundup: stripping a Regency hunk of his status; 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