{"id":108669,"date":"2017-03-10T20:04:08","date_gmt":"2017-03-11T01:04:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=108669"},"modified":"2017-03-12T23:19:20","modified_gmt":"2017-03-13T03:19:20","slug":"staff-picks-paradise-polysemy-porridge","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/10\/staff-picks-paradise-polysemy-porridge\/","title":{"rendered":"Staff Picks: Paradise, Polysemy, Porridge"},"content":{"rendered":"
<\/a>

Marianna Rothen, Fear of Fear<\/i>\u00a0from the series \u201cShadows in Paradise\u201d, 2016, archival pigment print, diptych, 17″ x 17″ each.<\/p><\/div>\n

 <\/p>\n

If Barbara Loden directed a film using Cindy Sherman\u2019s\u00a0Untitled Film Stills<\/em>, it would begin to approximate the photographs in Marianna Rothen\u2019s recent \u201cShadows in Paradise<\/a>\u201d\u00a0series, on view at Steven Kasher Gallery. The images elicit a sixties noir and depict women in various guises in isolated scenes of distress, eroticism, and introspection. The series\u2019s title takes its name from Remarque\u2019s 1971 novel; the book appears in one of the photographs, laid open across the lap of a distracted reader. Rothen\u2019s use of it may reference the woman\u2019s (or, more generally, women\u2019s) feeling of a simultaneous absence and doubling in her life: that her identity and her body\u2014physically and psychologically\u2014are always circumscribed by social and cultural forces, so that she becomes two people, neither one of whom, perhaps, she recognizes. In one of the works, in which two photographs are set side by side, the image on the left shows a woman gazing out a window at an overturned chair, a dress, shoes, and a wig on the lawn; the image on the right shows the same scene, but the woman at the window now inhabits the dress and wig and lies prone on the ground, as though dead. Rothen has said that her photographs reference\u00a0Persona<\/em>,\u00a0Three Women<\/em>, and\u00a0Mulholland Drive<\/em>, and too often she wears those influences on her sleeve,\u00a0but, to me, these are images that couldn\u2019t have been made by a man. Rothen shows an appreciation for the subtle variations of women\u2019s predicament that can only come from having known it herself. \u2014Nicole Rudick<\/strong><\/p>\n

I don\u2019t know whether it\u2019s my favorite movie, but I do know Mulholland Drive <\/em>is the only film I\u2019ve ever seen twice in two days\u2014as soon as I left the theater, I wanted to go back in. And I don\u2019t know whether it\u2019s my favorite moment in the movie, but I do know that when the mysterious woman in the Teatro Silencio opens her mouth and begins to sing in Spanish, and the song turns out to be \u201cCrying,\u201d and then she proceeds to sing the song\u00a0in its entirety<\/em>, I have never felt more satisfied, or more uncannily understood, by a work of art. And now, thanks to Beyond the Beyond: Music From the Films of David Lynch<\/a><\/em>, edited by J. C. Gabel and Jessica Hundley, I know that Lynch has called this his favorite moment in all his films. Others may prefer the Woman in the Radiator from Eraserhead<\/em>, or Dean Stockwell lip-syncing \u201cIn Dreams\u201d in Blue Velvet<\/em>, or the \u201cLocomotion\u201d scene in Inland Empire<\/em>\u2014as this lavishly illustrated compendium shows, nearly every film or show Lynch has made uses music to deep and mysterious effect. \u2014Lorin Stein\u00a0<\/strong><\/p>\n

<\/a>

David Lynch and Angelo Badalamenti in 1999.<\/p><\/div>\n

Last weekend, I watched Olivier Assayas\u2019s five-plus-hour biographical miniseries,\u00a0Carlos<\/a><\/em>, in one long sitting as the day wasted away and the sun eventually set. The film\u2014shown at Cannes in 2010 at 338 minutes, but available in abridged versions as short as two-and-a-half hours\u2014details the activities of the Marxist-Leninist revolutionary\u00a0Carlos the Jackal<\/a>\u00a0between, roughly, 1973 and 1990. I\u2019d never heard of Carlos the Jackal before, and was amazed\u2014stunned\u2014to realize that he\u2019s one of the world\u2019s most-wanted terrorists from that time. Most infamous, probably, for kidnapping the members of a 1975 OPEC<\/small> conference in Vienna<\/a>, he executed \u201cdozens of assassination plots, abductions, and bombings across Europe and the Middle East\u201d in the cause of Palestinian liberation. The film is fast-paced and detail-saturated, and it often feels like the inverse of every Western spy movie ever: a sympathetic, complex study of a band of internationalist Marxist-Leninist radicals attempting to, for instance, assassinate the Iranian minister of oil. Or organize a hostage taking at the French embassy in the Hague. I love how this movie turns the Western imperialist narrative in on itself through its character portraits. Because ultimately Carlos\u2019s cause\u2014the liberation of Palestine\u2014is moral. But his tactics are problematic to say the least. \u2014Caitlin Love<\/strong><\/p>\n

This Tuesday, I packed myself in among a sold-out crowd to see Chimamanda Ngozi Adichie speak at Cooper Union\u2019s Great Hall, where she discussed her new book:\u00a0Dear Ijeawele,\u00a0or a Feminist Manifesto in Fifteen Suggestions<\/a><\/em>. A slim volume, the text originated as a letter to a close friend, who, anxious about raising her baby girl, asked Adichie for advice. \u201cThe first is your premise,\u201d Adichie begins, \u201cthe solid unbending belief that you start off with. What is your premise? Your feminist premise should be: I matter. I matter equally. Not \u2018if only.\u2019 Not \u2018as long as.\u2019 I matter equally. Full stop.\u201d\u00a0Dear Ijeawele\u00a0<\/em>brims with all the qualities that make its author a joy to see live\u2014eloquence, intelligence, honesty, and humor. It offers an outline of Adichie\u2019s steadfast feminist stance\u2014relevant no matter your gender. I carry it in my bag as a concise reminder. \u201cMake difference ordinary. Make difference normal. Teach her not to attach value to difference. And the reason for this is not to be fair or to be nice, but merely to be human and practical. Because difference is the reality of our world. And by teaching her about difference, you are equipping her to survive in a diverse world.\u201d \u2014Madeline Madeiros Pereira<\/strong><\/p>\n

<\/a>

Still from Carlos<\/i>.<\/p><\/div>\n

Appropriately enough, John Keene\u2019s Annotations<\/a><\/em> (1995) resists easy annotation. Keene\u2019s bright, lyrical, hopscotch sentences are often metafictive and self-referential, and the book\u2019s organization is slippery, too; its chapters carry such titles as \u201cMulteities, Disjunctions, Intense Polysemic Pleasures.\u201d But the dexterity and contrast of his sentences brings balance to the work\u2014some run several lines, hooked many times over with punctuation, and others are a\u00a0word long. Keene\u2019s theme is identity\u2014sexual, historical, racial, personal, and cultural\u2014and Annotations<\/em> folds in prolific references to Monet, Richard Pryor, Rabindranath Tagore, Ozzie Smith, the Suras, the coccyx, Missouri, and Cicero. The effect is of a tapestry, with its sense of diversity and aggregation, shifting and sliding around Keene\u2019s lyricism. And somehow it all hangs together. A typical sentence reads, \u201cThe function and effect of titles, as in most cases of naming, however, depends on one\u2019s ability to differentiate signs. Ornithology. And so, in an effort to make so many shorter stories richer, these overtures ought to be read as a series of extended annotations.\u201d \u2014Noah Dow<\/strong><\/p>\n

Those who watch this space know that once every six months or so I get all fan-boyish about Cabinet<\/em> and foist something from its latest issue on you. I\u2019m not about to stop now, so \u2026 have you read the latest issue of Cabinet<\/em><\/a>? Christopher Turner has a piece about the Savoy Hotel\u2019s vast filing cabinet of dossiers on its guests, dating back to 1918, all of them carefully recorded on six-by-eight index cards. Today they\u2019re a fascinating testament to the hotel\u2019s diligence\u2014and, okay, surveillance\u2014in the name of hospitality. Did you know that Marlene Dietrich absolutely had to be greeted with a dozen pink roses and a chilled bottle of Dom P\u00e9rignon? Actually, you might have; that one\u2019s sort of intuitive. But there\u2019s no way you know the exact temperature at which Richard Harris took his porridge. The Savoy also kept detailed descriptions of \u201cofficer types\u201d on hand, so they could be given preferential treatment. As Turner writes, it all adds up to \u201ca snapshot of British class and privilege, and the Jeevesian discretion of the hotel staff.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Marianna Rothen, Olivier Assayas, Chimimanda Ngozi Adichie, 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":[14661,35,27775,15577,27777,27778,7758,27779,2633,71,989,27776,19623,269,27771,81,27774,46,2165,10904,100,53,9619,27780,27772,27773],"class_list":["post-108669","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-annotations","tag-art","tag-beyond-the-beyond","tag-cabinet","tag-carlos","tag-carlos-the-jackal","tag-chimamanda-ngozi-adichie","tag-christopher-turner","tag-david-lynch","tag-fiction","tag-j-c-gabel","tag-jessica-hundley","tag-john-keene","tag-magazines","tag-marianna-rothen","tag-movies","tag-mulholland-drive","tag-music","tag-nonfiction","tag-olivier-assayas","tag-photography","tag-reading","tag-recommended-reading","tag-savoy-hotel","tag-shadows-in-paradise","tag-steven-kashner"],"acf":[],"yoast_head":"\nStaff Picks: Marianna Rothen, Olivier Assayas, Chimimanda Ngozi Adichie<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review is reading this week.\" \/>\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\/10\/staff-picks-paradise-polysemy-porridge\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Paradise, Polysemy, Porridge by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"March 10, 2017 \u2013 In this week\u2019s staff picks: Marianna Rothen, Olivier Assayas, Chimimanda Ngozi Adichie, and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/10\/staff-picks-paradise-polysemy-porridge\/\" \/>\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=\"2017-03-11T01:04:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-03-13T03:19:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/ce50de08b803922f2d25d6957247c81a.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"910\" \/>\n\t<meta property=\"og:image:height\" content=\"447\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\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=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 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\/10\/staff-picks-paradise-polysemy-porridge\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/10\/staff-picks-paradise-polysemy-porridge\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Paradise, Polysemy, Porridge\",\"datePublished\":\"2017-03-11T01:04:08+00:00\",\"dateModified\":\"2017-03-13T03:19:20+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/10\/staff-picks-paradise-polysemy-porridge\/\"},\"wordCount\":1302,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/03\/10\/staff-picks-paradise-polysemy-porridge\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/ce50de08b803922f2d25d6957247c81a.jpeg\",\"keywords\":[\"annotations\",\"art\",\"Beyond the Beyond\",\"Cabinet\",\"Carlos\",\"Carlos the Jackal\",\"Chimamanda Ngozi Adichie\",\"Christopher Turner\",\"David Lynch\",\"fiction\",\"J. 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