{"id":108975,"date":"2017-03-21T09:07:24","date_gmt":"2017-03-21T13:07:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=108975"},"modified":"2017-03-21T10:39:46","modified_gmt":"2017-03-21T14:39:46","slug":"leave-jane-austen-alone-you-nazi-scum-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/21\/leave-jane-austen-alone-you-nazi-scum-and-other-news\/","title":{"rendered":"Leave Jane Austen Alone, You Nazi Scum, and Other News"},"content":{"rendered":"<div id=\"attachment_108976\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-108976\" class=\"wp-image-108976\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb.jpg\" width=\"1000\" height=\"665\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb.jpg 1500w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb-768x511.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/pride-prejudice-zombies-dom-ppz_d032_06991_jm_rgb-1024x681.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-108976\" class=\"wp-caption-text\">Lily James and Bella Heathcote in <i>Pride and Prejudice and Zombies<\/i>.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>First the white nationalists took that haircut\u2014you know the one, an arty variant on the Marine\u2019s high-and-tight buzz, endemic to white guys in gentrifying neighborhoods circa 2013. Then the white nationalists took Barbour field jackets, depriving a whole generation of the joys of waxed canvas. Now the white nationalists have come for Jane Austen, in whom they mistakenly see a love of tradition, and it is up to us to say: enough. Let them claim some other, lesser Regency writer\u2014an E. T. A. Hoffmann, maybe, or even a Sir Walter Scott\u2014and leave us to read <em>Persuasion <\/em>in peace, the animals. Jennifer Schuessler writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/03\/20\/books\/jane-austen-alt-right.html?mtrref=getpocket.com&amp;gwh=BC461AABA35FBECFA2106E49E4BD56DA&amp;gwt=pay&amp;_r=0\" target=\"_blank\">Some alt-right admirers hail Austen\u2019s novels as blueprints for a white nationalist \u2018ethno-state.\u2019<\/a> Others cite her as a rare example of female greatness \u2026 A post on the website Counter Currents called \u2018The Woman Question in White Nationalism,\u2019 for example, includes a string of comments debating how the vision of marriage in Austen\u2019s <em>Pride and Prejudice<\/em> fit with the \u2018racial dictatorship\u2019 necessary to preserve Western civilization. \u2018If traditional marriage \u00e0 la\u00a0<em>P&amp;P<\/em><em>\u00a0<\/em>is going to be imposed, again, in an ethnostate, we must behave like gentlemen,\u2019 one commenter wrote.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Kay Redfield Jamison\u2019s new book, <em>Robert Lowell, Setting the River on Fire<\/em>, aims to rehabilitate our understanding of the poet\u2019s mental illness, which tends to be shrouded in the clich\u00e9s of the eccentric artist. Dan Chiasson writes, \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/03\/20\/the-illness-and-insight-of-robert-lowell\" target=\"_blank\">From his thirties on, Lowell suffered the relentless cycles of bipolar disorder, the \u2018irritable enthusiasm\u2019 that lurched him upward before landing him in despair<\/a> \u2026 The poet\u2019s cycles of illness and recovery have been judged in scolding moral terms, or, worse, viewed as a kind of lifelong-mishap <small>GIF<\/small>, with Lowell stuck in a permanent loop. When he was manic, Lowell smashed wineglasses and schemed to marry near-strangers. In recovery, his depressions were severe, his remorse profound, the work of repairing the relationships he\u2019d damaged unrelenting. But the metaphors that came so quickly to hand could again be tamed and put to use. \u2018Gracelessly,\u2019 he wrote, \u2018like a standing child trying to sit down, like a cat or a coon coming down a tree, I\u2019m getting down my ladder to the moon. I am part of my family again.\u2019 \u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>The artist Sean Raspet works in a rarefied medium: synthetic meal-replacement products. His work, as A. E. Benenson explains, plays with the headstrong aesthetic assault that is Soylent, Silicon Valley\u2019s popular drinkable pseudo-nutrition ooze: \u201c<a href=\"http:\/\/www.artinamericamagazine.com\/news-features\/magazine\/more-of-less\/\" target=\"_blank\">Having explored artificial scents and flavors in his art for the previous two years, Raspet had recently begun working as a flavor engineer for Rosa Labs, the Los Angeles start-up that makes Soylent<\/a>. For the exhibition, he filled two commercial drink dispensers with\u00a0<em>Technical Milk\u00a0<\/em>and\u00a0<em>Technical Food <\/em>(both 2015): Soylent that he had spiked with molecules common to a broad range of foodstuffs. The resulting flavors were aggressively chemical, an implacable parade of Latex, burnt plastic, damp earth, and smoke \u2026 Raspet conceived his flavors simultaneously as artworks and as commercial prototypes for products to be mass produced by the company. Raspet\u2019s first Soylent flavor to reach the market through Rosa Labs was Nectar, launched in December 2016.\u00a0Nectar has a bright, lemony taste that some say reminds them of the milk left behind in a bowl of Froot Loops. It\u2019s made from a synthetic analogue of the Nasonov pheromone, a scent used by honeybees to mark their hive entrance.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Meanwhile, in T-shirt design: Morrissey has made a mistake. The Smiths\u2019 former singer was briefly selling a tee with James Baldwin\u2019s face on it\u2014Baldwin is so hot right now\u2014and can you guess where this is going? The shirt \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/mar\/20\/bigmouth-strikes-again-row-morrissey-james-baldwin-t-shirt-the-smiths\" target=\"_blank\">features a headshot of the <em>Another Country<\/em> writer coupled with the lyric from the song \u2018Unloveable<\/a>\u2019: \u2018I wear black on the outside \/ \u2019cause black is how I feel on the inside.\u2019 Describing the design as \u2018completely boneheaded, absurdly tone deaf, pretty much totally racist,\u2019 Claire Lobenfeld wrote for the Factmag fanzine: \u2018This unadvisable tee will be available for purchase at Morrissey\u2019s upcoming North American tour. But please don\u2019t get it.\u2019 <em>Pitchfork<\/em>\u00a0deemed it\u00a0\u2018problematic,\u2019 <em>Billboard<\/em> called it \u2018all a bit uncomfortable, to be perfectly honest,\u2019 while <em>Spin<\/em> writer Jeremy Gordon\u00a0pleaded: \u2018Morrissey \u2026 rethink this.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>The curator Simon Baker discusses <em>Provoke<\/em>, the best postwar avant-garde Japanese photography magazine you\u2019ve never heard of: \u201c<a href=\"http:\/\/aperture.org\/blog\/provoke-simon-baker\/\" target=\"_blank\">What marks out <em>Provoke <\/em>as avant-garde in the full sense, in the sense we might think of Surrealism, for example, is an attempt not only to make images, but to give a sense of the perspective from which the person making the images is seeing the world<\/a>. So it\u2019s about experience\u2014how do we experience life in the world around us? In busy urban centers like Tokyo in the late 1960s and early 1970s, you are seeing, in the photography of <em>Provoke<\/em>, an account of lived experience, which is a very radical kind of image making. It\u2019s not photography as an objective, descriptive medium. It\u2019s photography as an expressive, subjective, and quite radical medium.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: the alt-right latches on to Pride and Prejudice; reassessing Robert Lowell\u2019s bipolar disorder, 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":[25894,35,881,300,1945,8730,8528,11030,100,5425,27929,630,27928,26913,27927],"class_list":["post-108975","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-alt-right","tag-art","tag-james-baldwin","tag-jane-austen","tag-japan","tag-kay-redfield-jamison","tag-mental-illness","tag-morrissey","tag-photography","tag-pride-and-prejudice","tag-provoke-magazine","tag-robert-lowell","tag-sean-raspet","tag-soylent","tag-white-nationalists"],"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>White Nationalists Can\u2019t Take Jane Austen Without a Fight<\/title>\n<meta name=\"description\" content=\"In today\u2019s roundup: the alt-right latches on to Pride and Prejudice; 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