{"id":111305,"date":"2017-05-26T12:24:11","date_gmt":"2017-05-26T16:24:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111305"},"modified":"2017-06-01T13:00:19","modified_gmt":"2017-06-01T17:00:19","slug":"staff-picks-panjandrums-poets-power-struggles","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/26\/staff-picks-panjandrums-poets-power-struggles\/","title":{"rendered":"Staff Picks: Panjandrums, Poets, Power Struggles"},"content":{"rendered":"
\"\"<\/a>

Still from David Lynch\u2019s The Cowboy and the Frenchman<\/em>.<\/p><\/div>\n

 <\/p>\n

I\u2019ve had\u00a0a thing for reptilian monsters<\/a>\u00a0lately, and this week\u2019s no different: I ducked into a theater to see Nacho Vigalondo\u2019s\u00a0kaiju<\/em>\u00a0film,\u00a0Colossal<\/em><\/a>, and\u00a0was agape from start to finish. It follows an entitled fuck-up millennial named Gloria who\u2019s seemingly spent much of her adult life running her mouth, partying too hard,\u00a0and doing it all without consequence. But when her dreamy yet insufferable boyfriend dumps her and she\u2019s forced to move into her unfurnished (and unoccupied) childhood home in upstate New York, things take a turn for the peculiar: a giant lizardlike creature materializes in Seoul\u2014and Gloria somehow controls it.\u00a0Monster as metaphor is an all-too-familiar trope, but\u00a0this\u00a0<\/em>film\u2014with its mix\u00a0of dark hilarity, stunning cinematography, and\u00a0gripping\u00a0take on the self-infatuation that plagues many of us\u2014is brilliant. What I love most, though, is\u00a0that it\u2019s a revival of what\u00a0A. O. Scott once memorialized<\/a>\u00a0as \u201cthe cheesy, campy, guilty pleasures that used to bubble up with some regularity out of the B-picture ooze of cut-rate genre entertainment,\u201d which was nearly driven to extinction in the early aughts. With\u00a0Colossal<\/em>\u2019s low-budget sci-fi feel, it\u2019s wacky, outrageous plot, and its unwavering look at the monsters we harbor inside us, B flicks\u00a0are back and better than ever. \u2014Caitlin Youngquist<\/strong><\/p>\n

An elderly civil servant comes home from work one evening and finds a young man waiting to see him. This person turns out to be a fan\u2014in fact, the representative of a small fan club\u2014devoted to the old man\u2019s only book of poems, published thirty years before. That\u2019s the premise of Arthur Schnitzler\u2019s chillingly ironic novella Late Fame<\/a><\/em>. Written in the early 1890s, then lost for a century, the story of poor Eduard Saxberger, a washed-up writer lionized for reasons he doesn\u2019t quite understand, has aged much better than its hero, for the power struggle between an artist and his or her admirers is rarely captured with such bitter economy. \u2014Lorin Stein\u00a0<\/em><\/strong><\/p>\n

I can\u2019t stop turning Samantha Hunt\u2019s beautiful new short story, which appears in this week\u2019s New Yorker<\/i>, over in my head. Simply called \u201cA Love Story<\/a>,\u201d it\u2019s narrated by a writer and former drug dealer who is an anxious mother of three, a woman stuck at the bottom of a postpartum well. Every sentence pulses with anxiety: the narrator has dark fantasies of her babies being eaten by coyotes, speculates on the many reasons she and her husband have stopped having sex, projects her insecurities onto women she encounters in her domestic, maternal life. Her most amplified worries remind me of the sensation\u2014something akin to but not exactly like dread, anxiety, the loss of self\u2014that Lila describes in Elena Ferrante\u2019s Neapolitan novels, the feeling she sometimes gets of her boundaries dissolving. Hunt admits that her story meddles in what happens when \u201cthe boundaries between bodies fail.\u201d This happens with lovers, Hunt says, when their bodies come together, and with children, by virtue of their being made by and in the female body. But these borders can be shut by that thick, dark twin of anxiety:\u00a0fear. \u201cWhen fear comes,\u201d Hunt says, \u201cwe shut down the boundary to our body, creep our shoulders up the neck, fold in around the heart. It would be wiser to turn to another body for help, but it\u2019s not what we do.\u201d \u2014Caitlin Love<\/strong><\/p>\n

\"\"<\/a>

From the cover of The Songs We Know Best: John Ashbery\u2019s Early Life<\/em>.<\/p><\/div>\n

 <\/p>\n

There\u2019s a moment in the new Twin Peaks<\/i> when David Lynch, reprising his role as the near-deaf FBI panjandrum Gordon Cole, shouts out an irascible \u201cWhat the hell?!\u201d It reminded me of another short film by Lynch, one that might hold you over while you wait for new Peaks<\/i> episodes: The Cowboy and the Frenchman<\/i><\/a>, a 1988 oddity created in response to a prompt from Figaro<\/i> magazine that asked the directors of many nations to depict their impressions of the French. Lynch went full-on pastiche with it: in his movie, a mustachioed, beret-wearing artiste wanders across the plains only to be apprehended by a trio of cowboys who can\u2019t make heads or tails of him. In a climactic moment, the cowboys rifle through the Frenchman\u2019s leather satchel, expressing bewilderment at each successive object they pull out: bottles of wine, a baguette, snails, little replicas of the Eiffel Tower. Harry Dean Stanton\u2014playing the lead cowboy, Slim\u2014seems like a prototype for Gordon Cole. He, too, is profoundly deaf, and he exclaims \u201cWhat the hell?!\u201d on no fewer than six occasions. His performance makes The Cowboy and the Frenchman<\/i> the most gloriously stupid movie in Lynch\u2019s catalog. \u2014Dan Piepenbring<\/strong><\/p>\n

Forrest Gander\u2019s Core Samples from the World<\/a><\/em>, a travelogue-cum-poetry-collection-cum-photo-essay-cum-meditation on belonging, is clearly about syntheses of discrete impulses. Gander\u2019s subjects are culture, language, and foreignness\u2014notions that do not readily lend themselves to reconciliation\u2014and each section in the book is written about a place to which Gander has traveled. Of Mexico, he\u00a0considers, \u201cAnd maybe the relative ways our cultures experience time has something to do with the ways we construe eros \u2026 Mexican time is another form of curiosity<\/em>\u2014An opening within an \/ opening, the event of a night- \/ blooming cereus.\u201d His visits to foreign locales are undertaken explicitly as a poet and as a foreigner; he identifies himself as such. This is significant, as Gander also actively wonders about identification with place and about normalized art forms. He writes, from and of Bosnia, \u201cAt the front doors, a plaque memorializes the library\u2019s destruction by \u2018Serbian criminals.\u2019 On the side of the library, vivid in the moonlight, graffiti announces Braco Voli Bedra<\/em>, Braco Loves Thighs.\u201d Gander pushes into contrast and difference. The writer, as a pair of eyes and as a traveler, holds all of these discrete events together. Considering a Bosnian analogue to enthusiasm<\/em> and offering evidence of his own unflagging curiosity, Gander writes, \u201cThe Bosnians use a similar word, odu\u0161evljenje<\/em>, for those moments when, as poet Dijala Hasanbegovic says, \u2018energies converge and you become all soul.\u2019 \u201d \u2014Noah Dow<\/strong><\/p>\n

Take a few minutes this weekend to read Matthew Bevis\u2019s appreciation of John Ashbery<\/a>\u2014more specifically, his appreciation of Karin Roffman\u2019s biography, The Songs We Know Best: John Ashbery\u2019s Early Life<\/i><\/a>\u2014in the latest issue of Harper\u2019s<\/i>. No other American poet has been more confessional and concealing at once than Ashbery, and that discombobulation\u2014one that, if you\u2019re like me, you feel personally in some way every day\u2014is key to his oeuvre. As Bevis puts it, \u201cTo live with bafflement is itself to arrive at the personal because, for Ashbery, you are most truly yourself when you are put in touch with your disorientations.\u201d Bask in the absurd this weekend\u2014you\u2019ll be surprised what you find there. \u2014Jeffery Gleaves<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

  I\u2019ve had\u00a0a thing for reptilian monsters\u00a0lately, and this week\u2019s no different: I ducked into a theater to see Nacho Vigalondo\u2019s\u00a0kaiju\u00a0film,\u00a0Colossal, and\u00a0was agape from start to finish. It follows an entitled fuck-up millennial named Gloria who\u2019s seemingly spent much of her adult life running her mouth, partying too hard,\u00a0and doing it all without consequence. But […]<\/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":[28227,28987,28986,199,21151,2633,28985,13206,28415,79,3686,865,28990,1615,28989,5234,28991,28992,3286,12454,28988,165,7793,26998,54,123,6688],"class_list":["post-111305","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-american-cowboys","tag-ao-scott","tag-arthur-schnitzler","tag-biography","tag-bosnia","tag-david-lynch","tag-eduard-saxberger","tag-elena-ferrante","tag-figaro","tag-film","tag-forrest-gander","tag-france","tag-gordon-cole","tag-harpers-magazine","tag-harry-dean-stanton","tag-john-ashbery","tag-karin-roffman","tag-mathew-bevis","tag-mexico","tag-monsters","tag-nacho-vigalondo","tag-poetry","tag-samantha-hunt","tag-short-films","tag-television","tag-travel","tag-twin-peaks"],"acf":[],"yoast_head":"\nStaff 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