{"id":109916,"date":"2017-04-14T09:38:04","date_gmt":"2017-04-14T13:38:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109916"},"modified":"2017-04-14T10:51:53","modified_gmt":"2017-04-14T14:51:53","slug":"talking-is-overrated-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/14\/talking-is-overrated-and-other-news\/","title":{"rendered":"Talking Is Overrated, and Other News"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/mental-effects-and-manual-signs-of-tones-in-key.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-109917\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/mental-effects-and-manual-signs-of-tones-in-key.jpg\" alt=\"\" width=\"1000\" height=\"605\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/mental-effects-and-manual-signs-of-tones-in-key.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/mental-effects-and-manual-signs-of-tones-in-key-300x182.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/mental-effects-and-manual-signs-of-tones-in-key-768x465.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li>Talking has never done much for people. A speech act is a lot of hooey, if you ask me. Singing\u2014that\u2019s where the action is. It\u2019s got all the expressiveness of language, without all that language. In her\u00a0interview with Ben Lerner, the artist Steffani Jemison discusses\u2014among other things\u2014her interest in musical systems as a potential form of communication, especially among marginalized cultures: \u201c<a href=\"http:\/\/bombmagazine.org\/article\/1549313\/steffani-jemison\" target=\"_blank\">It began with my interest in the work of a nineteenth-century composer named Fran\u00e7ois Sudre who developed Solresol, an artificial universal language designed at a time when individual nation-states were consolidating in Europe<\/a>. Sudre envisioned \u2018speaking\u2019 through the seven pitches of the diatonic scale, or the syllables assigned to those pitches in the solf\u00e8ge singing system, or really any system with seven units \u2026 A pre-Esperanto musical Esperanto. Every word is a combination of pitches. So a word might be (sings)\u00a0<em>do-re<\/em>, which means \u2018you.\u2019 Or it might be [she sings] <em>do-mi-sol-re<\/em>, which means \u2018power.\u2019 Each melody indicates a different word. The symmetrical reversal of the melody has the opposite meaning. So\u00a0<em>re-sol-mi-do\u00a0<\/em>means \u2018the opposite of power,\u2019 however one might understand that. Of course, artificial languages don\u2019t work, but I\u2019m interested in why they recur at two extremes: first, in utopian visions of logical, frictionless communication (like Solresol); second, in completely opaque private languages like the kind I invented to write in my diary when I was a kid. Black Americans have a long history of creating and sustaining private and culturally specific languages and codes.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It\u2019s important to sample the cuisines of other nations, especially when those cuisines are mass-produced and cheaply imported as part of the inexorable march of global capital. To that end, Talia Lavin has some great news: Russia\u2019s best fast-food chain has arrived in America. She writes, \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/on-and-off-the-avenue\/a-russian-fast-food-chain-tries-its-luck-in-america?intcid=mod-latest\" target=\"_blank\">Teremok, a low-key purveyor of Russian staples, is almost comically ubiquitous in Moscow<\/a>; a map of its locations shows a city Dalmatian-spotted with kiosks and restaurants, all boasting the company\u2019s signature red nesting-doll logo \u2026 The two New York branches\u2014in Union Square and Chelsea\u2014are the chain\u2019s first forays outside Russia, and are the result of a process years in the making. Why America? In an interview with the Russian magazine\u00a0<em>Forum Daily<\/em>, the chain\u2019s founder, Mikhail Goncharov, had a simple answer: \u2018It\u2019s the motherland of fast food\u2019 \u2026 Buckwheat groats\u2014known in Russia, where they are omnipresent, as\u00a0<em>grechnevaya kasha<\/em>\u2014have been repackaged as a \u2018superfood\u2019; the familiar Russian beet is touted for its vitamins.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Mich\u00e8le Roberts offers a whirlwind tour of prostitution in literature: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/apr\/14\/the-fallen-woman-prostitution-in-literature\" target=\"_blank\">In French culture, the image of the prostitute forms part of the fabric of modernity anxiously woven by male poets<\/a>. Baudelaire, exemplifying the\u00a0fl\u00e2neur, talked of \u2018the sacred prostitution of the soul,\u2019 meaning that he could mingle minds with chance-met strangers, but places sexually free, wandering women merely as projections of his shadow self \u2026 For the French novelists, women living as prostitutes in the \u2018splendour and misery\u2019 pinpointed by Balzac function as statuesque allegories of social upheaval and change. Zola\u2019s courtesan heroine, Nana, behaves like a virus, rising from her working-class origins to infect the upper classes with her lust for sex. The prostitute heroine of Maupassant\u2019s \u2018Boule de Suif,\u2019 pressured by her traveling companions into servicing a Prussian officer, personifies the submission of France to the occupying forces. Hers is a pointless self-sacrifice; she remains the outcast.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In a new interview, Mark Greif elaborates on the creative impulses that led to <em>n+1<\/em>: \u201c<a href=\"http:\/\/www.thewhitereview.org\/interviews\/interview-mark-greif\/\" target=\"_blank\">It seemed as if there was no place to ridicule what genuinely needed to be ridiculed: the endless mendacity and fatuity of the business culture and marketing culture<\/a>. And it also seemed as if there was no place in which people did not rigidly segment political imaginations and hopes from literary desires and foppish aestheticism. Whereas it seemed clear to us that our foppish aestheticism and political desires were all from the same well \u2026 It is a strange thing to come into the world after university, or after years or reading, knowing that you can do the things that your elders do, and you can do them much better. You can write better books than what they\u2019re writing, you could teach courses when they should not be.\u00a0And then to find that actually, it\u2019s your obligation to enter into a decade or more of false apprenticeship. And it\u2019s a real question, what you do with that. One thing is to leave the field altogether; another is to try to hold onto your soul while you\u2019re writing copy for someone.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Rodin was the world\u2019s twenty-seventh highest-grossing artist at auction last year, but the guy\u2019s just not popular enough. With the centenary of his death upon us, maybe the guy can finally start raking it in. Scott Reyburn writes: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/04\/14\/arts\/art-market-auguste-rodin.html?rref=collection%2Fsectioncollection%2Farts&amp;action=click&amp;contentCollection=arts&amp;region=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=4&amp;pgtype=sectionfront\" target=\"_blank\">Rodin was the preeminent sculptor of the Impressionist and Post-Impressionist era, and <em>The Kiss<\/em> and <em>The Thinker<\/em> are among the most instantly recognizable sculptures in the world<\/a>. Yet for all their fame, Rodin\u2019s sculptures have yet to command the blockbuster prices paid for trophy paintings by his radical contemporaries Monet and C\u00e9zanne\u2014or indeed for the most desirable sculptures by Brancusi or Henry Moore \u2026 As the British sculptor and teacher William Tucker wrote in the 1974 book <em>The Language of Sculpture<\/em>, when \u2018taken as a whole,\u2019 Rodin\u2019s work strikes us as being \u2018heavy with the nineteenth century.\u2019 And that isn\u2019t where the really big money is.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: a utopian scheme to communicate through music; Russian fast food comes to America.<\/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":[28363,19903,3263,20082,28358,687,504,15968,208,19694,447,28362,964,28359,22429,28360,17920,28361],"class_list":["post-109916","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-art-market","tag-auguste-rodin","tag-ben-lerner","tag-fast-food","tag-francois-sudre","tag-language","tag-literature","tag-mark-greif","tag-n1","tag-prostitution","tag-russia","tag-russian-food","tag-sculpture","tag-solresol","tag-speech","tag-steffani-jemison","tag-talking","tag-teremok"],"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>I\u2019d Like to Teach the World to Sing (Because Talking Is Overrated)<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: a utopian scheme to communicate through music; 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