{"id":110614,"date":"2017-05-05T17:12:42","date_gmt":"2017-05-05T21:12:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110614"},"modified":"2017-05-05T17:32:42","modified_gmt":"2017-05-05T21:32:42","slug":"staff-picks-mothers-metromedia-murderous-amphibians","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/05\/staff-picks-mothers-metromedia-murderous-amphibians\/","title":{"rendered":"Staff Picks: Mothers, Metromedia, Murderous Amphibians"},"content":{"rendered":"
<\/a>

From Rachel, Monique\u2026<\/i><\/p><\/div>\n

\u00a0<\/strong><\/p>\n

Last night, I dipped into Rachel Ingalls\u2019s 1982 novel,\u00a0Mrs. Caliban<\/a><\/em>, which New Directions will reissue later this year, and am already agog over it. I\u2019ll admit, its premise seemed a smidge too outr\u00e9, even for me, but after the first few pages I was hooked.\u00a0Mrs. Caliban<\/em>\u00a0follows a lonesome housewife, Dorothy, who\u2014tormented by the malaise of domestic life, her husband\u2019s infidelity, and the loss of their two children\u2014takes up an affair with a six-foot-seven, murderous amphibian named Larry, who\u2019s just escaped from the Oceanographic Research Institute. Thirty pages in, the two have already\u00a0\u201cmade love on the living-room floor and on the dining-room sofa and sitting in the kitchen chairs, and upstairs in the bathtub.\u201d As deranged as the whole thing is, Ingalls\u2019s prose, strikingly austere, taps into a profound sadness, too:\u00a0Is\u00a0Mrs. Caliban<\/em>\u00a0a work of fantasy or are we inhabiting the psyche of a woman unhinged? Whatever the answer,\u00a0the book is, as\u00a0Michael Dorris wrote in his 1986 revie<\/a>w\u00a0in the\u00a0Times<\/em><\/a>,\u00a0an \u201cintriguing portrait of a woman\u2019s escape from unacceptable reality,\u201d and one that begs to be read over and over again. \u2014Caitlin Youngquist<\/strong>\u00a0<\/strong><\/p>\n

Sophie Calle\u2019s new project at Green-Wood Cemetery<\/a> has gotten a lot of attention this week, deservedly, but I\u2019m hung up on Rachel, Monique\u2026<\/a><\/em>, a memorial to her mother in the form of a lavish, clothbound book, with an embroidered cover and iridescent fabric. Based on Calle\u2019s 2010 exhibition at the Palais de Tokyo, the book arranges diary excerpts and family photographs to tell an oblique story about mothers and daughters, and the narrative that coalesces around a life glimpsed in fragments. Calle\u2019s mother, who died in 2007, comes across as observant and sharp, with a charming fatalism waxing and waning over the years. Calle, unsurprisingly, likes to linger on her thinking about death. One diary entry says simply: \u201cGod, I hate spring!\u201d In another, she writes, \u201cI would already like Christmas to be over. Or perhaps I\u2019d like my life to be over.\u201d And elsewhere: \u201cGood-bye, Diary! I\u2019m off to New York. Let\u2019s hope it will all be wonderful. If the plane crashes, here\u2019s a cheery farewell to life!\u201d \u2014Dan Piepenbring\u00a0<\/strong><\/p>\n

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

As I watched Kasper Collin\u2019s\u00a0I Called Him Morgan<\/a>\u00a0<\/em>at the Lincoln Center a few weekends ago, I reveled in all the images and sounds soaking into the room. The film celebrates the life of the jazz trumpeter Lee Morgan, who was shot and killed by his wife, Helen, in an East Village club in 1972. It was an ancient squabble: Morgan was having an affair, he brought the other woman to the club that night, Helen saw her, they fought, she shot him. Of course, murder is more complicated than that, and forgiveness is, too, as the Collin\u2019s narrative ultimately shows. Helen shot Lee in front of his friends, many of whom were interviewed for the film. They couldn\u2019t believe the murder when it happened, but by the end they all express feelings of deep sympathy, even affection, for their friend\u2019s murderer. Watching the film is a deeply sensory experience. There\u2019s the music, of course, but also the gorgeous textured images, shot by cinematographer Bradford Young: the Chrysler building on a snowy night, taxis arranging themselves around crowded streets, the city skyline. As Adam Shatz\u00a0wrote on the Daily<\/em> last month<\/a>, these images give the movie \u201c[an] atmosphere reminiscent of the French New Wave, a movement intoxicated by the sounds of sixties jazz.\u201d \u2014Caitlin Love<\/strong><\/p>\n

<\/a>

From Typewriters, Bombs, Jellyfish<\/i>.<\/p><\/div>\n

The essays in Tom McCarthy\u2019s Typewriters, Bombs, Jellyfish<\/em><\/a> are enjoyably weird and clever: they function like a hydraulic press, testing the tensile strength of his associations (see the title). McCarthy doesn\u2019t mash things together as much as he searches for connection, asking why two disparate ideas seem to work and what their connection ultimately means. His essay \u201cMetromedia, or Why London\u2019s Weather Is in the Middle of Everything\u201d taught me that the publication of local weather reports in London\u2019s Daily News<\/em> ushered the concept of interconnectivity into the minds of everyday citizens, highlighting the individual\u2019s spatial limitations and essentially shrinking the world. By the time I finished it, I agreed that weather is communication, communication is weather, and that \u201cDatum est<\/em>: it is given. Date is what centers us inside the universe, its gift.\u201d All this from a short essay that, essentially, is a beautiful excuse for talking about the weather when a conversation slackens. It makes me eager to dive back in and watch McCarthy\u2019s brain. \u2014Jeffery Gleaves<\/strong><\/p>\n

I got a copy of Federico Garc\u00eda Lorca\u2019s collection Poet in New York<\/a> <\/em>before I ever lived in New York. Reading it then, I noted the earnest metaphor of Lorca\u2019s lines. I could keep Lorca at arm\u2019s length; New York was distant and his magic had a similar otherworldliness. Now that I live here, I\u2019ve returned to Lorca, finding that his freedom with metaphor is well disposed to the unlikely, occasionally jarring simultaneities of this place. In a poem titled \u201cNew York (Office and Denunciation),\u201d he writes, \u201cA river that sings and flows\/past bedrooms in the boroughs\u2014 \/ and it\u2019s money, cement, or wind \/ in New York\u2019s counterfeit dawn. \/ I know the mountains exist. \/ And wisdom\u2019s eyeglasses, \/ too. But I didn\u2019t come to see the sky.\u201d He writes about enclosure. There are mountains, yes, which may be formidable, but they are elsewhere and rightly so. Here, in New York, there is cement, money, and wind. Poet in New York <\/em>offers, in its manifold imagery, an experience of particularity and of immersion, of feeling big and of feeling small, and of the intersection of disjunction and coherence within New York\u2019s roiling vitality. \u2014Noah Dow<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Sophie Calle, Tom McCarthy, Rachel Ingalls, and more.<\/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":[17,7682,13797,364,7510,8705,28186,28175,12079,81,28693,124,747,100,7221,165,28692,28694,9619,13913,883,5215,28695],"class_list":["post-110614","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-books","tag-diaries","tag-documentaries","tag-essays","tag-federico-garcia-lorca","tag-films","tag-i-called-him-morgan","tag-kasper-collin","tag-lee-morgan","tag-movies","tag-mrs-caliban","tag-new-york","tag-novels","tag-photography","tag-poems","tag-poetry","tag-rachel-ingalls","tag-rachel-monique","tag-recommended-reading","tag-sophie-calle","tag-staff-picks","tag-tom-mccarthy","tag-typewriters-bombs-jellyfish"],"acf":[],"yoast_head":"\nStaff Picks: Sophie Calle, Tom McCarthy, Rachel Ingalls<\/title>\n<meta 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