{"id":112041,"date":"2017-06-23T15:30:58","date_gmt":"2017-06-23T19:30:58","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=112041"},"modified":"2017-06-23T16:27:13","modified_gmt":"2017-06-23T20:27:13","slug":"staff-picks-banquets-bootleggers-bumbling-entrepreneurs","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/23\/staff-picks-banquets-bootleggers-bumbling-entrepreneurs\/","title":{"rendered":"Staff Picks: Banquets, Bootleggers, Bumbling Entrepreneurs"},"content":{"rendered":"
<\/a>

Ray Johnson, Untitled (Jasper Johns, James Dean with Coca-Cola)<\/i>, 1993, collage on board, 8 1\/2″ x 18″. Image via Matthew Marks Gallery<\/p><\/div>\n

 <\/p>\n

\u201cFor more than thirty years Garland Bunting has been engaged in capturing and prosecuting men and women in North Carolina who make and sell liquor illegally.\u201d Such is the modest first sentence of Alec Wilkinson\u2019s Moonshine<\/a><\/em>, a book-length portrait of a backwoods\u00a0law-enforcement\u00a0genius. First published in 1985, this is old-fashioned New Yorker<\/em> reporting at its best: funny, low-key, sneakily poignant\u2014the kind of book that makes you want to read it aloud. In Garland, Wilkinson found a complex hero. He also found out a lot about the production and sale of moonshine, very little of it romantic, all of it intensely interesting. Somebody bring Moonshine<\/em> back into print! \u2014Lorin Stein<\/strong>\u00a0<\/strong><\/p>\n

This week, I caught the end of Matthew Marks Gallery\u2019s Ray Johnson show<\/a>, which closes\u00a0Saturday. I\u2019ve never seen so much of Johnson\u2019s\u00a0work in person\u2014there are more than thirty collages on view, made from 1966 to 1994, the year before his death. He\u00a0spent some three years at Black Mountain College in the mid forties and studied there with Lyonel Feininger, Josef Albers, Robert Motherwell, Alvin Lustig, and Paul Rand. His education in painting, advertising art, and graphic design comes through in spades in these collages, which deal in an appealing combination of repeating forms\u2014both abstract and figurative\u2014that run counter to one another but are never at war, never unharmonious. Johnson mixes imagery from celebrity and popular culture, art history, and his own symbology in a proto-Pop, proto-conceptual style that is funny, bold, and demure all at the same time. That said, my favorite piece is punk rock meets avant-garde: a pair of black-and-white saddle shoes, from 1977, with JOHN and CAGE stenciled on the toes. \u2014Nicole Rudick\u00a0<\/strong><\/p>\n

<\/a>

From the first edition of Moonshine.<\/i><\/p><\/div>\n

It\u2019s a wonder that Vittorio De Sica\u2019s\u00a0Il Boom\u00a0<\/a><\/em>(1963) has only just arrived in the US, but perhaps it couldn\u2019t be timelier. Showing now at Film Forum, the film is set in Rome during \u201cil boom<\/i>,\u201d the economic upswing of the sixties. We follow Giovanni Alberti, a lovably bumbling everyman incapable of saving so much as a single cent. Drowning in debt, he pitches the same flimsy scam to every entrepreneur he comes across. With each rejection, shimmering\u00a0skyscrapers and neon advertisements sneer; the composer Piero Piccioni\u2019s jaunty guitars seem to mock him.\u00a0Facing the threat of losing his family, Alberti negotiates his final deal,\u00a0the sale of one of his eyes. A sharp satire of postwar capitalism,\u00a0Il Boom<\/em>\u00a0runs the logic of the free market to its absurd end. \u2014Madeline Medeiros Pereira <\/strong><\/p>\n

I love how often Ali Smith\u2019s characters amuse themselves.\u00a0The Whole Story and Other Stories<\/a><\/em>, in which Smith\u2019s talents are on full display, overflows with women who laugh to themselves on trains, in supermarkets, and at art galleries. See the deliriously fun \u201cMay,\u201d in which a woman falls in love with a tree: \u201cA tree, for goodness sake, I laugh to myself as I pay for a bag of apples in the supermarket \u2026 \u201d; and \u201cBeing quick,\u201d in which a woman thinks she sees Death in King\u2019s Cross train station: \u201cI thought how funny it was of me to have imagined that the man who nearly bumped into me was Death. I laughed. The coughing girl opened her eyes and looked at me accusingly.\u201d These charming bursts are evidence of how much time these women spend in their own minds. Are some of them mad? Maybe. But they\u2019re also playful, cunning, quick, bright. You feel like an accomplice to their thoughts. (Best paired with Smith\u2019s Art of Fiction interview<\/a>, in our Summer issue.) \u2014Caitlin Love<\/strong><\/p>\n

<\/a>

A still from Il Boom<\/i>.<\/p><\/div>\n

Long Ling, a government official in Beijing, contributed \u201cDeath at the Banquet,\u201d the Diary column<\/a> in the latest\u00a0London Review of Books<\/em>, and I can\u2019t stop thinking about it: there\u2019s something uniquely chilling about the notion of a fatality wrapped in so many layers of bureaucracy. China\u2019s Communist Party, Ling explains, has a long and sordid history of lavish banquets; before reforms were passed, \u201csenior officials frequently attended two to three banquets on a single evening. Sometimes banquets would be held consecutively, leaving the host to struggle home after five or six hours of drinking, but more frequently two or more banquets would take place in adjacent rooms in a restaurant, with the host moving from one room to the other to toast visiting dignitaries.\u201d When Ling is\u00a0coerced into attending one, she\u2019s seated near an overweight guy who promptly drinks himself to death, literally: he keels over at the table, bleeding from the mouth and nose, and turns purple. The reaction to his death is a lesson in buck-passing, an unsettling admixture of superstition and lies of omission. It\u2019s a haunting\u00a0vignette, carefully crafted. I hope Ling has more of them in store. \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Alec Wilkinson, Ali Smith, Long Ling, 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":[9001,11615,35,1815,71,8705,29301,29304,759,29303,269,20198,29299,747,6152,9619,7845,883,40,29302,29300],"class_list":["post-112041","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-alec-wilkinson","tag-ali-smith","tag-art","tag-china","tag-fiction","tag-films","tag-il-boom","tag-italian-cinema","tag-london-review-of-books","tag-long-ling","tag-magazines","tag-matthew-marks-gallery","tag-moonshine","tag-novels","tag-ray-johnson","tag-recommended-reading","tag-short-stories","tag-staff-picks","tag-the-new-yorker","tag-the-whole-story-and-other-stories","tag-vittorio-de-sica"],"acf":[],"yoast_head":"\nStaff Picks: Alec Wilkinson, Ali 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