{"id":109375,"date":"2017-03-29T09:39:45","date_gmt":"2017-03-29T13:39:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109375"},"modified":"2017-03-29T12:07:26","modified_gmt":"2017-03-29T16:07:26","slug":"painting-is-the-new-shouting-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/29\/painting-is-the-new-shouting-and-other-news\/","title":{"rendered":"Painting Is the New Shouting, and Other News"},"content":{"rendered":"<div id=\"attachment_109376\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109376\" class=\"wp-image-109376\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar.jpg\" width=\"1000\" height=\"723\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar.jpg 1280w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar-300x217.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar-768x555.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/03\/kayamar-1024x740.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109376\" class=\"wp-caption-text\">Detail from a painting by Kaya Mar reprinted in <i>Satire Magazine.<\/i><\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>We live in a golden age for clever protest signs. As bodies in the streets have proliferated, so, too, have canny shows of devastating wit. (Also, pussy hats.) If you go to a protest with an unfunny sign, or just kind of a <em>meh <\/em>sign, or a small index card with potential slogan ideas that you focus group on the fly, you could end up the laughingstock of the resistance. Kaya Mar will never suffer such a fate. He carries around\u00a0stately protest paintings\u2014elaborate political cartoons in oil on canvas. And the effort he puts into them functions as a kind of megaphone: people are too impressed <em>not <\/em>to take pictures. Sam Kinchin-Smith spoke with Mar, who lives in England: \u201c<a href=\"https:\/\/www.lrb.co.uk\/blog\/2017\/03\/29\/sam-kinchin-smith\/the-art-of-protest\/\">The trick, he explained, is to \u2018get your disappointment, anger, rage onto the canvas\u2019 with a quick and simple story<\/a>. \u2018Everybody has to recognize what I\u2019m trying to say, not just in England, all over the world \u2026 When you try to force meaning, you lose the plot. When you are tribal, you censor yourself, and you won\u2019t produce something good\u2019 \u2026 Mar finds out that rallies are taking place because photo agencies call to ask if they can stage some shots with him and his paintings: \u2018Normally they give me two days\u2019 notice, because they like to have me there. I have every one of my pictures on Getty.\u2019 This isn\u2019t a sham; it\u2019s a strategy. Protests \u2018haven\u2019t changed anything in all the time I\u2019ve lived here,\u2019 Mar said. \u2018Politicians love them because they are a valve. But to have your voice heard, you need television and print media.\u2019 And Mar has infiltrated those more effectively than any other satirist I can think of, by feeding the agencies that fuel so much of the media\u2019s output. He can paint whatever he likes, however weird or angry, and Alamy and Shutterstock, the PA and the AP, will guarantee it gets the national platform denied to the protesters he stands alongside.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Fan fiction is great, but who has the time? Sarah Engeler-Young has married the art of fanfic to the art of compression; an aficionado of <em>Buffy the Vampire Slayer<\/em>, she \u201cwrites fiction that retells Spike-centric episodes via haiku. She calls them Spaiku.\u201d And she says: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/03\/27\/arts\/television\/buffy-vampire-slayer-fan-fiction.html?_r=2\" target=\"_blank\">Buffy\u2019s is a hero\u2019s journey for the ages, and it has been a wonderful show to watch again and again with my daughter as she navigates adolescence<\/a> \u2026 My desire to interact with other people who love <em>Buffy<\/em> eventually led me to a very supportive online community at LiveJournal. I read (and commented on) tons of fan fiction, made fabulous new friends, and wished that I could contribute something as well. Alas, the plotting requirements of long fiction are completely beyond me. I thought, \u2018Well, maybe if I made something <em>very<\/em>\u00a0<em>small<\/em>\u00a0\u2026 \u2019 \u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Dustin Illingworth looks at <em>Literature Class<\/em>, a new collection of Julio Cort\u00e1zar\u2019s 1980 lectures at UC Berkeley: \u201c<a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2017\/03\/the-subtle-radicalism-of-julio-cortazars-berkeley-lectures\/520812\/\" target=\"_blank\">The unifying through line is Cort\u00e1zar\u2019s abiding insistence on the elasticity of literary art, the better to capture what he saw as a fleeting, contentious, and ever-fluid reality<\/a>. At one point, Cort\u00e1zar tells his students, \u2018I had lived with a complete feeling of familiarity with the fantastic because it seemed as acceptable to me, as possible and as real, as the fact of eating soup at eight o\u2019clock in the evening.\u2019 The fantastic, then, was a means of leavening the flatness of the widely accepted, or the merely prosaic. The sentiment becomes something of a refrain. For Cort\u00e1zar \u2026 the joyless\u2014and, in cases, politically expedient\u2014narrowing of lived possibility was forever conspiring with a larger falseness, one he called \u2018the prefabricated, pre-established world.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Tim Parks looks at an issue that\u2019s been simmering among translators for decades: Why don\u2019t they get a cut of a book\u2019s royalties? It\u2019s \u2026 complicated: \u201c<a href=\"https:\/\/www.nybooks.com\/daily\/2017\/03\/28\/the-expendable-translator\/\" target=\"_blank\">Sentence by sentence, the work is already there<\/a>. However difficult it may be bringing it into another language, translators do not have to start from scratch, and they rarely have much choice, at least at the beginning of their careers, as to what kind of work they are translating. Certainly, in my own experience, nothing could be more different than settling down to a day\u2019s writing as opposed to a day\u2019s translating \u2026 That translation requires creativity is indisputable. As a translator myself, I have no desire to undermine the dignity of the craft. But is this creativity of a kind that constitutes \u2018authorship\u2019?\u201d<\/li>\n<\/ul>\n<ul>\n<li>We\u2019re never going to immobilize the white nationalists, Reinhold Martin writes, if we continue to erect massive structures that double as paeans to their worldview: \u201c<a href=\"https:\/\/placesjournal.org\/article\/the-demagogue-takes-the-stage\/\">Real estate is never mere\u00a0<em>property<\/em><\/a>. Or to put it the other way around, property is never a mere profanity. Under capitalism, property is the most enchanted thing there is. In this light, developers of property\u2014real-estate developers\u2014are conjurers, makers of meaning; they are neoliberal capitalism\u2019s shamans, priests, rabbis, Imams. This special role arises out of the ground; first comes the land to be conquered in order for property to rule, and then comes what architects and real-estate agents call space, or the empty shell of habitation. Over and over again, this ground must be made into a homeland, and the shell made into a home. In Max Weber\u2019s Germany, the two had already been conflated in the term\u00a0<em>Heimat<\/em>, or home\/homeland, which refers both to the national soil and to the locus of dwelling. Architects may remember the associated style, <em>Heimatstil<\/em>, and the associated heritage movement,\u00a0<em>Heimatschutz<\/em>, meaning \u2018homeland protection\u2019 or \u2018homeland security.\u2019 \u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Kaya Mar\u2019s protest paintings, the debate over translators and royalties, Buffy fanfic, 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":[1657,28073,2967,6746,6225,21504,28072,17141,67,4617,16038,7014,530],"class_list":["post-109375","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-architecture","tag-buffy-the-vampire-slayer","tag-democracy","tag-fan-fiction","tag-haiku","tag-julio-cortazar","tag-kaya-mar","tag-lectures","tag-painting","tag-protest","tag-royalties","tag-tim-parks","tag-translation"],"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>Taking to the Streets? 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