{"id":108142,"date":"2017-02-24T15:17:46","date_gmt":"2017-02-24T20:17:46","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=108142"},"modified":"2017-02-24T16:48:30","modified_gmt":"2017-02-24T21:48:30","slug":"staff-picks","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/02\/24\/staff-picks\/","title":{"rendered":"Staff Picks: Gunpowder, Gay Saints, Game Wardens"},"content":{"rendered":"
<\/a>

From Escaped Alone<\/i>.<\/p><\/div>\n

 <\/p>\n

In the February issue of Harper\u2019s<\/em>,\u00a0the gospel historian Anthony\u00a0Heilbut writes about gays in the black church, past and present<\/a>:\u00a0\u201cEven when they haven\u2019t been the preachers\u2014and they sometimes are\u2014they have constituted the pastors\u2019 inner circle and praetorian guard. Music dominates the traditional black church; the minister is as much cantor as village explainer. In particular, a good \u2018Mississippi whoop,\u2019 or melodic growl, has been the making of many a preacher. And when the minister growled, the gay organist would accent his every moan, while the gay choir members made their joyous noise, and the gay saints (i.e., members of the flock) jumped to their feet, clapping and dancing in the spirit. The whole experience was orchestrated and annotated by gays and lesbians. This is one reason why many straight men have shunned the church\u2014why, for example, the Reverend Jesse Jackson\u00a0was ashamed to tell his mother that\u00a0he had joined a choir.\u201d \u2014Lorin Stein<\/strong><\/p>\n

Caryl Churchill\u2019s new play Escaped Alone<\/a> <\/em>is at the Brooklyn Academy of Music for one more weekend. Go see it\u2014it\u2019s not even an hour long. Four British women, getting on in years, sit in the backyard and wonder where the time goes. They bicker, they ruminate, they joke about Tesco; in a manic outburst of nostalgia, they break into a skillful rendition of \u201cDa Doo Ron Ron.\u201d But there\u2019s a nameless unease in the air\u2014it might just be the apocalypse! Occasionally the stage goes dark and one of the women steps into a frame of terrifying red LED lights, where she recounts what I can only describe as fun facts about the end of the world. (\u201cSmartphones were distributed by charities when rice ran out, so the dying could watch cooking.\u201d) If Pinter had lived to see\u2014and sniff at\u2014Black Mirror<\/em>, he might\u2019ve fused it to Kitchen Sink Drama like this, but it would\u2019ve wanted for Churchill\u2019s warmth. Not to say she\u2019s a softy: the tension, in the play\u2019s best moments, breaks its neighborliness, and a dark, Beckettian ooze seeps out. One of its many fine monologues goes like this: \u201cTerrible rage, terrible rage, terrible rage, terrible rage, terrible rage, terrible rage.\u201d \u2014Dan Piepenbring<\/strong>\u00a0<\/p>\n

<\/a>

An illustration from Harper\u2019s<\/i> by Shonagh Rae.<\/p><\/div>\n

 <\/p>\n

\u201cThe combined light and shadow of passing \/ cars stutter-shifted across the walls the way, \/ in summer, \/ the night-moths used to.\u201d This line, from a poem by Carl Phillips that opens\u00a0the second installment<\/a>\u00a0of Aaron Stern and Jordan Sullivan\u2019s \u201cDialogues<\/a>\u201d project, well describes what I find so appealing, so\u00a0right<\/em>\u00a0about the book\u2019s selection of poems and photographs. The play of light and shadow, of reflected and refracted movement in the photographs extends to the written work and elicits between the two mediums not a sameness but a sense of camaraderie.\u00a0Karen Miranda-Rivadeneira\u2019s buttery photograph of long blonde grasses waving to hills softened by low clouds\u2014a\u00a0transfixing\u00a0haze of sunlight and fog\u2014seems to reference what Martha Ronk elsewhere in the book terms \u201cthe shape of silence\u201d: \u201cthe dissipating clouds over the San Gabriels, a wisp brushed \/ across the sky, its shaggy ends trailing \u2026 gases unseen, particles freewheeling.\u201d\u00a0\u2014Nicole Rudick<\/strong><\/p>\n

Mad River Books<\/a> rolled out their new 21st Century Essays<\/a> series last month with A Mother\u2019s Tale<\/em><\/a>, by Phillip Lopate, and Don\u2019t Come Back<\/em><\/a>, by Lina Mar\u00eda Ferreira Cabeza-Vanegas. Lopate\u2019s book revisits thirty-three-year-old recordings of an interview he once conducted with his mother; a touching portrait emerges in what becomes a three-way conversation between Lopate now, his mother, and his younger self, with graceful honesty and thoughtfulness throughout. Don\u2019t Come Back <\/em>is Ferreira\u2019s unflinching look at the space between languages\u2014life, she shows her readers, is always lived in translation. Ferreira, born in Colombia, weaves her life into the country\u2019s turbulent political history, adding a touch of ancient myth to give an extraordinarily intimate picture of the region, stretching back before the conquistadors and up to memories of her childhood, \u201cwhen the whole country smelled of gunpowder and pork and burnt skin.\u201d Ferreira is writing collage essays here, equipped with beautiful visual translations that I can\u2019t stop viewing and unpacking. \u2014Jeffery Gleaves<\/strong><\/p>\n

<\/a>

From Dialogues 02<\/i>.<\/p><\/div>\n

 <\/p>\n

L\u00e1szl\u00f3 Krasznahorkai\u2019s book The Last Wolf & Herman<\/a><\/em> can be read in two directions; as long as the spine is on the left, you can jump in on either side. Krasznahorkai revels in this kind of entropy. One half of the book, \u201cHerman,\u201d is the story of a game warden tasked with organizing a forest for public use. He senses \u201can invincible, stifling power already busily attacking his manicured paths and trails from all sides,\u201d but the thought soothes him\u2014in fact, he attacks anyone who would impose order on the forest, setting hunting traps outside of homes and waylaying the effete urbanites. But after he undergoes a beatific realization\u2014\u201che saw a sign of grace in his sudden ability to behold everything with new eyes \u2026 everything that surrounds him carries exactly the same weight\u201d\u2014he goes to turn himself in and is promptly shot dead by the police. The two other stories in the book, \u201cThe Death of a Craft\u201d\u00a0and \u201cThe Last Wolf,\u201d are similar: nature pushes itself on the human order, people vacillate in their sense of purpose. Krasznahorkai achieves a dramatic scale\u2014but he also makes time for the particular and delicate subjectivities of his characters. \u2014Noah Dow<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Anthony Heilbut, Caryl Churchill, Carl Phillips, 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":[27519,22706,360,1684,17,19555,20284,23337,27520,27518,364,355,136,22705,9800,27521,46,17808,14432,7221,165,9619,883,4213],"class_list":["post-108142","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-a-mothers-tale","tag-aaron-stern","tag-anthony-heilbut","tag-bam","tag-books","tag-carl-phillips","tag-caryl-churchill","tag-dialogues","tag-dont-come-back","tag-escaped-alone","tag-essays","tag-gospel","tag-harpers","tag-jordan-sullivan","tag-laszlo-krasznahorkai","tag-lina-maria-ferreira-cabeza-vanegas","tag-music","tag-philip-lopate","tag-plays","tag-poems","tag-poetry","tag-recommended-reading","tag-staff-picks","tag-theatre"],"acf":[],"yoast_head":"\nStaff Picks: Anthony Heilbut, Caryl Churchill, Carl 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