{"id":108402,"date":"2017-03-06T09:19:40","date_gmt":"2017-03-06T14:19:40","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=108402"},"modified":"2017-03-06T10:44:05","modified_gmt":"2017-03-06T15:44:05","slug":"reading-in-the-buff-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/06\/reading-in-the-buff-and-other-news\/","title":{"rendered":"Reading in the Buff, and Other News"},"content":{"rendered":"<div id=\"attachment_108403\" style=\"width: 810px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-108403\" class=\"wp-image-108403 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits.jpg\" width=\"800\" height=\"489\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits.jpg 800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits-300x183.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits-768x469.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-108403\" class=\"wp-caption-text\">Illustration: Anthony Gross, 1940.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Let\u2019s cut to the chase: I\u2019m talking exposed peen. I\u2019m talking gender-queering the Victorian classics. I\u2019m talking nude men, reciting <em>Jane Eyre<\/em>, on stage, for you. It happens. Lara Williams, who attended a in London performance of Naked Boys Reading, writes, \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/mar\/05\/naked-boys-reading-book-group-nude\" target=\"_blank\">Watching Naked Boys Reading is an experience akin to a hen do hijacked by a spoken word event: a unexpectedly cerebral night of nude performance art<\/a>. \u2018This is a male voice reading a female text written under a male name,\u2019 says collective co-founder and self-styled \u2018drag know-it-all\u2019 Sharon Husbands, after his reading of the closing passages of <em>Wuthering Heights<\/em>. \u2018It\u2019s problematic.\u2019 Husbands has a Ph.D. in gender and sexuality, and speaking with him before he gets on stage it becomes clear very quickly that Naked Boys Reading is an intellectually considered affair; not least when Husbands solemnly says things like: \u2018The nudity provides two things: a new lens and modality for the texts, and the care-giving experience of being read to \u2026 We want to infantilize men in the same way women are infantilized,\u2019 Husbands tells me. \u2018We have to critique these structures.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>On the other end of the performance spectrum, there\u2019s Sam Gold, the director mounting a revival of <em>The Glass Menagerie <\/em>on Broadway, who aims for a remarkably unremarkable theatrical experience. Sasha Weiss writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/03\/01\/magazine\/sam-gold-the-glass-menagerie-the-experimentalist-on-broadway.html\" target=\"_blank\">At thirty-eight, Gold is one of the most celebrated theater directors in New York, a master at gently stripping both audience and actors of their expectations and creating a sense of collective interdependence<\/a>. He does this by dispensing with theatrical conventions\u2014showy sets and costumes, a clear separation between stage and audience, acting that titillates or entertains\u2014so that the focus stays fixed on the bodies of the actors and their words. \u2018I\u2019m not very interested in pretend,\u2019 Gold told me. \u2018I\u2019m interested in putting people onstage. I want people. And I want a world that reflects the real world.\u2019 His pared-down worlds are, paradoxically, inviting: They corral everyone in the theater toward maximum receptivity. Once you learn the rules and submit to them, it\u2019s as if you\u2019ve been initiated into a family.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>You\u2019ve probably heard that our forty-third president has become a painter in his dotage, which puts the American public in a tight spot: now we have to have an opinion about George W. Bush\u2019s art, and an opinion about whether that first opinion should take into account his disastrous presidency. Can a talented portraitist erase eight years of political blundering? Peter Schjeldahl writes, \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/george-w-bushs-painted-atonements\" target=\"_blank\">The quality of the art is astonishingly high for someone who\u2014because he \u2018felt antsy\u2019 in retirement, he writes, after \u2018I had been an art-agnostic all my life\u2019\u2014took up painting from a standing stop, four\u00a0years ago, at the age of sixty-six<\/a> \u2026 Bush now commands a style, generic but efficient, of thick, summary brushwork that aims to capture expression as well as physiognomy. There\u2019s a remoteness in the use of photographs. The subjects aren\u2019t present to the artist. They\u2019re elsewhere. But they look honestly observed and persuasively alive \u2026 Having obliviously made murderous errors, Bush now obliviously atones for them. What do you do with someone like that?\u201d<\/li>\n<\/ul>\n<ul>\n<li>Steve Bannon, meanwhile, continues to name-drop <em>The Camp of the Saints<\/em>, an obscure 1973 French novel that dared to be totally, frankly, brutally racist where others were only furtively, subtly racist: \u201c<a href=\"http:\/\/www.huffingtonpost.com\/entry\/steve-bannon-camp-of-the-saints-immigration_us_58b75206e4b0284854b3dc03\" target=\"_blank\">Upon the novel\u2019s release in the United States in 1975, the influential book-review magazine <em>Kirkus Reviews<\/em> pulled no punches:<\/a> \u2018The publishers are presenting\u00a0<em>The Camp of the Saints <\/em>as a major event, and it probably is, in much the same sense that <em>Mein Kampf<\/em> was a major event\u2019 \u2026 The plot of\u00a0<em>The Camp of the Saints\u00a0<\/em>follows a poor Indian demagogue, named \u2018the turd-eater\u2019 because he literally eats shit, and the deformed, apparently psychic child who sits on his shoulders. Together, they lead an \u2018armada\u2019 of 800,000 impoverished Indians sailing to France. Dithering European politicians, bureaucrats and religious leaders, including a liberal pope from Latin America, debate whether to let the ships land and accept the Indians or to do the right thing\u2014in the book\u2019s vision\u2014by recognizing the threat the migrants pose and killing them all.\u201d<\/li>\n<\/ul>\n<ul>\n<li>We want our hermits to be sagely, transcendent ascetic types\u2014usually they\u2019re just creeps in the woods. Colin Dickey dissects the popular ideals of hermitage: \u201c<a href=\"https:\/\/newrepublic.com\/article\/140991\/case-becoming-hermit?utm_content=buffer796a6&amp;utm_medium=social&amp;utm_source=twitter.com&amp;utm_campaign=buffer\" target=\"_blank\">Hermits appeal to us because of the allure of simplicity<\/a>. The hermit\u2019s life is decluttered entirely from human connection or communion\u2014living in a world without dentist appointments or small talk, distractions or annoyances. Living outside of our community, the hermit finds a necessary perspective: A God\u2019s-eye view on the hustle and bustle of the world that consumes and distracts us. Hermitage has almost always been associated with religious or spiritual enlightenment\u2014the purpose is never just to get away into nature but to\u00a0<em>learn\u00a0<\/em>from it. It\u2019s a curiously goal-oriented project, even as its practitioners often reject such thinking.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: a reading series featuring nude men; Steve Bannon\u2019s favorite racist novel; 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":[1219,27674,2998,27671,8006,67,8306,53,27672,25934,27673,12326,4213],"class_list":["post-108402","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-george-w-bush","tag-hermits","tag-jane-eyre","tag-naked-boys-reading","tag-nudity","tag-painting","tag-portraits","tag-reading","tag-sam-gold","tag-steve-bannon","tag-the-camp-of-the-saints","tag-the-glass-menagerie","tag-theatre"],"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>At \u201cNaked Boys Reading,\u201d Boys Read\u2026Nakedly<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: a reading series featuring nude men; Steve Bannon\u2019s favorite racist novel; why we love hermits; 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\/03\/06\/reading-in-the-buff-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reading in the Buff, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"March 6, 2017 \u2013 In today\u2019s roundup: a reading series featuring nude men; Steve Bannon\u2019s favorite racist novel; and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/06\/reading-in-the-buff-and-other-news\/\" \/>\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=\"2017-03-06T14:19:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-03-06T15:44:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"489\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\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=\"Dan Piepenbring\" \/>\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\/03\/06\/reading-in-the-buff-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/06\/reading-in-the-buff-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Reading in the Buff, and Other News\",\"datePublished\":\"2017-03-06T14:19:40+00:00\",\"dateModified\":\"2017-03-06T15:44:05+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/06\/reading-in-the-buff-and-other-news\/\"},\"wordCount\":851,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/06\/reading-in-the-buff-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/two_lines_of_naked_recruits.jpg\",\"keywords\":[\"George W. 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