{"id":107885,"date":"2017-02-17T14:57:06","date_gmt":"2017-02-17T19:57:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=107885"},"modified":"2017-02-17T17:44:18","modified_gmt":"2017-02-17T22:44:18","slug":"staff-picks-beyonce-bureaucrats-bloody-hands","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/02\/17\/staff-picks-beyonce-bureaucrats-bloody-hands\/","title":{"rendered":"Staff Picks: Bey, Bureaucrats, Bloody Hands"},"content":{"rendered":"
<\/a>

From There Are More Beautiful Things Than Beyonc\u00e9<\/i>.<\/p><\/div>\n

 <\/p>\n

In the early 1920s, a series of unsolved murders terrorized the residents of Osage County, Oklahoma. Most of the victims were members of the Osage Nation\u2014a tribe that had grown rich when oil was discovered on their reservation\u2014but as the killings continued, even their privately funded investigations failed to crack the case, until it drew the attention of an ambitious young bureaucrat in Washington, J. Edgar Hoover. Through heroic and ingenious detective work, Hoover\u2019s agents at what was then called the Bureau of Investigation exposed a cabal of white Oklahomans conspiring to kill Indians for their oil. The case made Hoover\u2019s name, and the Bureau\u2019s, but as David Grann shows in Killers of the Flower Moon: The Osage Murders and the Birth of the FBI<\/a><\/em>\u2014out this April\u2014the true scale of the conspiracy has never been revealed. It is an incredible story, stirring and impossible to put down, by a writer whose true-life mysteries always go deeper than the reader expects. \u2014Lorin Stein<\/strong><\/p>\n

In a New York Times\u00a0<\/em>opinion piece<\/a>\u00a0last November, just after the presidential election, the poet Morgan Parker wrote about being \u201ca thing to be hated\u201d\u2014that is, being a black woman. \u201cSociety believes that black women are not beautiful,\u201d\u00a0she writes, \u201cand so maybe I believe that, too.\u201d Parker\u2019s tremendous new collection,\u00a0There Are More Beautiful Things than Beyonc\u00e9<\/a><\/em>, echoes that sentiment but also takes it to task. Her feelings of invisibility alight in the first poem, \u201cAll They Want Is My Money My Pussy My Blood,\u201d which doesn\u2019t somuch open the book as explode from it. \u201cAt school they learned that Black people happened,\u201d she says of a group of kids. It\u2019s a small, powerful line whose suggestion\u2014in part that black identity is history and thus forfeit in the present\u2014permeates these poems. Parker, though, doesn\u2019t concede the point (\u201cA secret is during commercials \/ I am living other lives\u201d), and she derives strength and inspiration from other black women, including Mickalene Thomas, whose photocollage appears on the book\u2019s cover. In a poem written in response to Thomas\u2019s work, Parker captures the embodied fullness of Thomas\u2019s images of self-possessed black women: \u201cJeweled lips, we\u2019re rich \/ We\u2019re everyone. We have ideas and vaginas, \/ history and clothes and a mother.\u201d \u2014Nicole Rudick\u00a0<\/strong><\/p>\n

<\/a>

From High Lonesome<\/i>.<\/p><\/div>\n

Plenty has been said about Barry Hannah\u2019s sentences<\/a>. In Richard Ford\u2019s 2004 introduction to Airships, <\/em>he said they \u201chad a perilous feel,\u201d and the title of Jamie Quatro\u2019s 2009 essay echoes that risk: \u201cBarry Hannah\u2019s Dangerous Syntax.\u201d Hannah was edited by Gordon Lish, and, like many of Lish\u2019s acolytes , his sentences glare with grammatical unease\u2014until a second read, when it\u2019s clear that they\u2019re shining with an odd perfection. I\u2019d like to point out one sentence that caught my eye especially, from \u201cCarriba\u201d in High Lonesome<\/em><\/a>: \u201cPut that pussy on my head and wear her down the street like a hat.\u201d Hannah, whose work needled in on \u201cheroism and violence; racial politics; misogyny; religious gilt, atonement and judgment; what it means to be male or artistic in the modern world; and the relationship between jazz music and narrative improvisation,\u201d isn\u2019t necessarily a \u201cprophetic\u201d writer. What I mean is, I doubt Hannah meant for that icy little sexist line to have the weight it has today, as white women nationwide pounce into marches in pink displays of feminism<\/a>. I wonder what he\u2019d make of it, this line clawing its way into 2017 while the world carousel spins in its rising and falling farce. \u2014Caitlin Love<\/strong><\/p>\n

Under its new editor, Adam Ross, the venerable Sewanee Review<\/a><\/em> has gotten a nice face-lift\u2014I spent last night absorbed in its Winter 2017 issue. Of special note are John Jeremiah Sullivan\u2019s essay \u201cThe Curses<\/a>,\u201d about the \u201cblue music\u201d and \u201cblue songs\u201d that came to prominence in 1870s America, when songs from the plantation first began to reach white ears; and Jennifer Habel\u2019s \u201cP Is for Permission,\u201d a collage poem constructed entirely from The Paris Review<\/em>\u2019s interviews with Elizabeth Hardwick, Janet Malcolm, Toni Morrison, Joan Didion, Joy Williams, Ann Beattie, and Deborah Eisenberg. Sewn together, their words take on a new resonance: \u201cI was the most ordinary of the ordinary \/ I was obsessed with Dickinson \/ I was uneasy with my presence in life.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

\"\"<\/a><\/p>\n

So much can be said about the triumphs of George Saunders\u2019s debut novel,\u00a0Lincoln in the Bardo<\/a><\/em>: his audacity in describing Lincoln\u2019s consciousness as he sits cross-legged in a moonlit grove not far from his dead son\u2019s tomb, plucking blades of grass; the echoes between the fairground boundaries of the Bardo at Oak Hill Cemetery and the theme parks in his earlier collections,\u00a0CivilWarLand in Bad Decline<\/em>\u00a0and\u00a0Pastoralia<\/em>; the momentum the book somehow gains despite its narration, which is mostly a chorus of fragmented and competing voices. But not enough has been said about the subnarrative concerning the novel\u2019s finest character, Reverend Everly Thomas, who is the only spirit at Oak Hill who knows not only that he and all the rest are dead\u2014these spirits, before Lincoln\u2019s earthly intervention, are in utter denial of their state\u2014but also that he is damned to be flayed for all eternity by a \u201cbeast, bloody-handed and long-fanged, wearing a sulfur-colored robe, bits of innards speckling it.\u201d The ceremony Rev. Thomas endures, which involves projectile-vomiting angels and diamond doors, before fleeing back to the Bardo is the singular most haunting imagining of Final Judgment I\u2019ve ever read.\u00a0\u2014Daniel Johnson<\/strong><\/p>\n

Karl Geary\u2019s debut novel, Montpelier Parade<\/a><\/em>, is set in 1980s Dublin, in the midst of a bleak recession. Sonny Knolls, a sixteen-year-old from a working-class family, is smart, but he doesn\u2019t know what he wants to do with his life; he spends his time getting drunk, stealing some bicycle parts, and doing odd labor jobs with his father. Vera is a beautiful older woman who lives in an affluent part of the city; like her home, she possesses a certain grandeur, but it\u2019s become worn and vacant. In Vera, Sonny sees the opportunity and cultural richness that his life lacks. Geary paints such a detailed picture of working-class Dublin\u2014his writing reminds me of Roddy Doyle\u2019s\u2014and he captures that feeling of wanting to shed the limitations and conditions of your background. Parade<\/em> makes for a poignant debut. \u2014Nollaig O\u2019Connor<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

This week: staff picks on David Grann, Morgan Parker, George Saunders, 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":[5235,17,2137,970,27360,27363,1577,27365,27359,27364,27366,21343,27361,53,9619,27362,883,23444],"class_list":["post-107885","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-barry-hannah","tag-books","tag-david-grann","tag-george-saunders","tag-high-lonesome","tag-jennifer-habel","tag-john-jeremiah-sullivan","tag-karl-geary","tag-killers-of-the-flower-moon","tag-lincoln-in-the-bardo","tag-montpelier-parade","tag-morgan-parker","tag-pussy-hat","tag-reading","tag-recommended-reading","tag-sewanee-review","tag-staff-picks","tag-there-are-more-beautiful-things-than-beyonce"],"acf":[],"yoast_head":"\nStaff Picks: Morgan Parker, David Grann, 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