{"id":109914,"date":"2017-04-14T14:00:47","date_gmt":"2017-04-14T18:00:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109914"},"modified":"2017-04-14T16:36:06","modified_gmt":"2017-04-14T20:36:06","slug":"staff-picks-conduits-cockroaches-colored-paper","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/14\/staff-picks-conduits-cockroaches-colored-paper\/","title":{"rendered":"Staff Picks: Conduits, Cockroaches, Colored Paper"},"content":{"rendered":"
\"\"<\/a>

From Ben Gijsemans\u2019s debut graphic novel, Hubert<\/em>.<\/p><\/div>\n

 <\/p>\n

It seems silly to ask, but did you know that there were loads of women making art in the postwar era, before the advent of the feminist movement, women who were central to the development of various abstract idioms but who were largely marginalized in male-dominated conversations about abstraction? Surprising, but not surprising, right? MoMA\u2019s new show, \u201cMaking Space: Women Artists and Postwar Abstraction<\/a>,\u201d which opens\u00a0tomorrow, seeks to rectify this\u00a0omission by gathering some fifty artists and more than a hundred paintings, drawings, photographs, sculptures, ceramics, and fiber works made between the end of World War II and the late sixties. One of my favorite paintings is there: Lee Krasner\u2019s\u00a0Gaea<\/em>, a large canvas on which pink and white ovoid shapes burst out of a dark purple background. I discovered Eleanore Mikus\u2019s gluey white canvas, from which indistinct shapes begin to surface, like forms from a block of marble; Anne Ryan\u2019s small, profound collages made from colored paper, sandpaper, cloth, string; Magdalena Abakanowicz\u2019s imposing, animate yellow-orange woven sisal wall piece; and so many more\u2014room after room of stunning, brilliant work. \u00a0\u2014Nicole Rudick<\/strong><\/p>\n

Constance DeJong\u2019s novel Modern Love<\/a> <\/em>turns thirty this year, and it\u2019s out in a striking new facsimile edition from Primary Information\u00a0and\u00a0Ugly Duckling Presse. The book comes kicking and screaming from a vortex of polyphony. Its two hundred pages wander from the downtown New York of the seventies to India to Oregon to Spain in the time of the Armada; it declaims on everything from Elizabethan fashion to the joys of cohabiting with cockroaches, with a long passage that\u2019s straight-up science fiction. All of this should induce vertigo, or at the very least whiplash; instead the novel enshrouds the reader in a kind of patchwork quilt, comfortable even as it frays at the edges. Seemingly frenetic, Modern Love <\/em>is ordered with great care; beneath its constant digression it settles into a ruminative, almost stately pace, encouraging capacious feeling on anxiety, sex, death, and work, often all at once. \u201cI\u2019m fanatical about sequence<\/a>,\u201d DeJong told\u00a0Bomb\u00a0<\/em>recently, \u201cand how sense and meaning can be made from a system of order that isn\u2019t recognizable as alphabetical, chronological\u2014one that has a different mechanism to the structure. That has always been fuel for my writing, and it has never gone away.\u201d \u2014Dan Piepenbring\u00a0<\/strong><\/p>\n

\"\"<\/a>

Lee Krasner, Gaea<\/em>, 1966.<\/p><\/div>\n

It\u2019s easy to forget that P. G. Wodehouse, the quintessential English humorist, spent the vast majority of his working life in America. He assimilated, too. According to the New Yorker <\/em>writer Herbert Warren Wind, Wodehouse\u2014a diligent worker well into his eighties\u2014always took time out for the afternoon TV show The Edge of Night<\/em>. \u201cFor many years, it was his habit to watch another soap opera, Love of Life<\/em>, which went on at\u00a0noon, but about three years ago a new man started writing the script for the show, and it lost its appeal for Wodehouse. He much admires Henry Slesar, the writer of The Edge of Night<\/em>, and speaks of him as \u2018a chap who has a good story to tell and knows how to tell it.\u2019 Aside from this, the things he most likes to watch on television are the Mets\u2019 games.\u201d Thanks, as ever, to the giveaway table in our lobby for The World of P. G. Wodehouse<\/a><\/em> (1972). \u2014Lorin Stein<\/strong><\/p>\n

Though I read it last year, I worked my way through C. E. Morgan\u2019s\u00a0The Sport of Kings<\/a>\u00a0<\/em>again this week when I heard that it had been shortlisted for the Pulitzer. The novel begins with a boy, Henry Forge, racing through his family\u2019s cornstalks to hide from his raging father, John Henry, who is after him for killing a neighbor\u2019s bull.\u00a0<\/strong>The Forges have farmed their Kentucky land for generations, but Henry, the heir, decides to dismantle his family\u2019s legacy to breed Thoroughbreds. Henry becomes a legend of Kentucky horse racing; his daughter Henrietta inherits her father\u2019s passion but thunders against his bitterness and racism. As I picked through\u00a0The Sport of Kings<\/em>\u00a0this time, I focused on the novel\u2019s five \u201cinterludes,\u201d which shine through the vaulting family narrative. These moments sharpen this epic with an ecstatic lyricism, as in \u201cLa belle rivi\u00e8re<\/em>,\u201d an homage to the Ohio River. It begins, \u201cThe Great, the Sparking, the White; coursing along the path of the ancient Teays \u2026 formed in perpetuity by the confluence of two prattling streams, ancient predecessors of the Kentucky and Licking\u2014maternal and paternal themes in the long tale of how the river became dream, conduit, divide, pawn, baptismal font, gate, graveyard, and snake slithering under a shelf of limestone and shale.\u201d \u2014Caitlin Love<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Hubert lives alone in a flat in Belgium and watches his neighbors through the windows. He spends his days at an art museum, rarely interacting with others. He photographs classical art, mostly paintings of nude women, to take home for further study. He\u2019s the eponymous protagonist of Ben Gijsemans\u2019s debut graphic novel,\u00a0Hubert<\/a><\/em>: peculiar, yes, and more than a bit pitiful. Gijsemans renders Hubert in copies, capturing\u00a0his\u00a0micromovements, over series of\u00a0solitary seconds; the panels of the\u00a0book inch forward in time, emphasizing Hubert\u2019s silent isolation. We see Hubert engage with \u00c9douard Manet’s Olympia<\/em>; we see him in his flat attempting to re-create the art he has photographed. His day-to-day minutiae take on beauty alongside the famous\u00a0paintings and sculptures. Hubert is brave, though, maybe even heroic\u2014read the book to see why. Gijsemans\u2019s story is about art and inspiration as much as it is about loneliness. \u2014Jeffery Gleaves<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

What the staff of \u2018The Paris Review\u2019 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":[28386,28383,28379,28377,1067,28381,28385,1638,26564,28382,28378,28376,2010,705,4882,3708,3259,1267,53,354,883,28384,28380,24581,28387,24580],"class_list":["post-109914","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-ben-gijsemans","tag-c-e-morgan","tag-constance-de-jong","tag-gaea","tag-graphic-novel","tag-herbert-warren-wind","tag-hubert","tag-kentucky","tag-lee-krasner","tag-love-of-life","tag-magdalena-abakanowicz","tag-making-spac-women-artists-and-pwstwar-abstraction","tag-modern-love","tag-moma","tag-new-yorker","tag-olympia","tag-p-g-wodehouse","tag-pulitzer-prize","tag-reading","tag-recommendations","tag-staff-picks","tag-the-sport-of-kings","tag-the-world-of-p-g-wodehouse","tag-this-weeks-reading","tag-weekend-reads","tag-what-were-reading"],"acf":[],"yoast_head":"\nStaff Picks: \u2018Modern Love\u2019, Lee Krasner, C.E. 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