{"id":109497,"date":"2017-03-31T19:08:32","date_gmt":"2017-03-31T23:08:32","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109497"},"modified":"2017-04-03T08:17:04","modified_gmt":"2017-04-03T12:17:04","slug":"staff-picks-sorceresses-sidewalks-suturing","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/31\/staff-picks-sorceresses-sidewalks-suturing\/","title":{"rendered":"Staff Picks: Sorceresses, Sidewalks, Suturing"},"content":{"rendered":"
<\/a>

From\u00a0Taipei Story.<\/i><\/p><\/div>\n

 <\/p>\n

When I hopped over to BAM recently to see Edward Yang\u2019s 1985\u00a0Taipei Story<\/a><\/em>, I didn\u2019t realize that I was about to encounter one of the most beautiful movies I\u2019ve seen this year.\u00a0Taipei Story<\/em>\u00a0is a stunning and fluid masterpiece about a couple, Chin (Tsai Chin) and Lung (Hou Hsiao-hsien), slowly drifting apart in an increasingly modern Taiwan. They make vague plans to move to America, but they fall through\u2014neither one of them can seem to stop giving money to their struggling friends and family. The movie is sewn through with glorious slow images: of Taiwan\u2019s new, monotonous high-rises (\u201cI can\u2019t tell anymore which ones I designed and which I didn\u2019t,\u201d says Chin\u2019s architect lover); clogged highways; active night markets and cozy karaoke bars. Everything is bent in a glacially paced Weltschmerz. The biggest bummer (spoiler, sorry): when Lung dies, stabbed at the end by a young admirer of Chin\u2019s. It happens so casually, in a muffled street scuffle, that it just seems like another quiet moment in this drifting, sad story. But Yang has flipped the tragedy switch: after his attacker flees, Lung starts to walk away, then stops, pulls back his jacket, and looks at a dripping, red orb on his white dress shirt. He limps down the empty, tree-lined parkway, hoping for a cab. It never comes. \u2014Caitlin Love<\/strong><\/p>\n

I watched A Perfect Couple<\/a> <\/em>(1979) from start to finish before I realized it was a Robert Altman movie. I should\u2019ve known: it\u2019s a bonkers rom-com including an assault with a fireplace poker, a very horny veterinarian, and a tender moment in the ER, with the doctor interrupting to say, \u201cI don\u2019t think you two should be kissing while I\u2019m suturing.\u201d Paul Dooley and Marta Heflin play star-crossed lovers with troubles at home. He, well into his forties, still lives in the baroque family mansion, where his tyrannical Greek father presides over creaky, oppressive family dinners. She\u2019s a backup singer in Keepin\u2019 Em Off the Streets, a Delaney and Bonnie\u2013ish rock revue whose asshole bandleader insists on grueling, interminable rehearsals, after which the band repairs to the hip loft where they cohabit in promiscuous, cultlike harmony. Altman\u2019s arch, cynical side is here in abundance\u2014he makes love seem like an apocalypse, the sort of thing you\u2019d undertake only if the drugs stopped being fun. But almost in spite of himself, he ends up with a winsome story about trapped people looking for life\u2019s fire exits. (He also sneaks in one of the earliest examples of a happy gay couple in all of cinema.) The sets, designed by regular Altman collaborator Leon Ericksen, are at once airy and labyrinthine, giving the camera plenty of holes to plumb and baubles to dwell on. And the script is quietly lacerating: when Dooley advertises himself for a video-dating service, he stammers, \u201cI\u2019m interested in having a relationship that\u2019s, uh \u2026 well I don\u2019t like to say meaningful, because everybody says meaningful.\u201d \u2014Dan Piepenbring\u00a0<\/strong><\/p>\n

 <\/p>\n

<\/a>

From A Perfect Couple.<\/i><\/p><\/div>\n

 <\/p>\n

There\u2019s no way around it:\u00a0I, Olga Hepnarov\u00e1\u00a0<\/a><\/em>is a disturbing watch. Directed by Petr Kazda and Tom\u00e1s Weinreb, it recounts the life of Olga Hepnarov\u00e1, who, in 1973, intentionally drove a truck through a packed Prague sidewalk. Killing eight and injuring at least twenty, unrepentant Hepnarov\u00e1 was the last woman executed under the communist regime. I feared the movie would lodge a predictable argument, blaming communism for her actions\u2014but it\u2019s unflinchingly resistant to easy answers. Shooting in black and white, the cinematographer Adam Sikora creates a gray atmosphere in which Michalina Olszanska\u2019s Olga becomes both victimizer and victimized. Bone-thin and painfully awkward, she\u2019s a bullied outcast with a violent grudge. We\u2019re thrown into her volatile resentment, but we\u2019re also provided with moments of interpersonal connection, which, for all her callousness, still have the power to perforate her isolation. This tension creates a cyclical system of cause and effect, in which the avoidable and the inevitable intersect. Sidestepping the temptations of caricature,\u00a0I, Olga Hepnarov\u00e1\u00a0<\/em>asks the often silent, difficult questions of gruesome acts. \u2014Madeline Pereira<\/strong><\/p>\n

 <\/p>\n

From I, Olga Hepnarov\u00e1.<\/i><\/p><\/div>\n

 <\/p>\n

Samantha Hunt\u2019s first story collection,\u00a0The Dark Dark<\/a><\/em>, comes out in July. In \u201cAll Hands on Deck,\u201d thirteen teenagers, all mysteriously pregnant at the same time, hover inches off the ground in their high school hallway; in \u201cBeast,\u201d a woman transforms into a deer after her husband falls asleep, and finds herself frightened of the surrounding night: cars, construction, strip malls\u2014all on American land that used to be to farm property and forests. In these ten stories, Hunt connotes the feminine with magic in an undeniably male and intensely puritanical way. The principal at the high school accuses the thirteen girls\u2014who harbor strange fetishes for America\u2019s founding fathers\u2014of witchcraft; the anamorph is terrified to tell her husband of her transformations. And so we wonder, what would that look like, a man reconciling the creature that is his wife via the codifications of contemporary conversation? At the heart of each story is the sense that the American experiment was doomed. It failed to understand women without language that casts them as beasts, sorceresses\u2014organisms hormonally inhuman. The Dark Dark\u00a0<\/em>reads like a feminist manifesto threaded through imaginative fiction; it\u2019s the most evocative, impressive collection I\u2019ve read this year. \u2014Daniel Johnson<\/strong><\/p>\n

A cult favorite, Flann O\u2019Brien\u2019s novel The Third Policeman<\/a><\/em> is bizarre and hilarious: it moves along some puckish metafictive ground. There are bicycles, pancake<\/em> is used as a superlative placeholder noun, and time is often, though not always, recursive. The plot, if it is just one, follows a narrator who kills, steals, and ends up in a police station. He\u2019s an informal scholar of an intellectual named de Selby and, as events unfold, de Selby\u2019s thought is presented alongside the narrator\u2019s. We learn that de Selby believes the Earth isn\u2019t spherical but rather sausage shaped, and that motion is unreal. The narrator relays all this from the police station, where he\u2019s been detained for murder. At another point, the narrator discovers that he has a soul named Joe, a touchy sort who takes offense to a comment about his, Joe\u2019s, body, thus setting the narrator off on an earnest meta-digression about his soul having a body inside of his, the narrator\u2019s, body. Reading The Third Policeman<\/em> can feel a bit like living inside Zeno\u2019s paradox, where any presumptive movement is halved and then halved again. But there\u2019s great humor and feeling in O\u2019Brien\u2019s writing\u2014the swirling effect that emerges in a good hall of mirrors. \u2014Noah Dow<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

What the staff of The Paris Review is reading this week.<\/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":[28147,17,28145,5438,28150,7876,81,747,28148,9619,6077,7793,7845,883,28146,28152,28151,28149],"class_list":["post-109497","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-a-perfect-couple","tag-books","tag-edward-yang","tag-flann-obrien","tag-i-olga-hepnarova","tag-metafiction","tag-movies","tag-novels","tag-petr-kazda","tag-recommended-reading","tag-robert-altman","tag-samantha-hunt","tag-short-stories","tag-staff-picks","tag-taipei-story","tag-the-dark-dark","tag-the-third-policeman","tag-tomas-weinreb"],"acf":[],"yoast_head":"\nStaff Picks: Taipei Story, Robert Altman, Samantha Hunt, and More<\/title>\n<meta name=\"description\" content=\"What the staff of 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