{"id":112174,"date":"2017-06-30T14:00:12","date_gmt":"2017-06-30T18:00:12","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=112174"},"modified":"2017-06-30T13:13:03","modified_gmt":"2017-06-30T17:13:03","slug":"contributors-reading-summer-2","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/30\/contributors-reading-summer-2\/","title":{"rendered":"What Our Writers Are Reading This Summer"},"content":{"rendered":"

In place of our usual staff picks this week, we\u2019ve asked five contributors from\u00a0<\/em>our\u00a0new Summer issue<\/a>\u00a0<\/em>to write about what they\u2019re reading.\u00a0<\/em><\/p>\n

\"\"<\/a>

From the cover of A Chosen Exile: A History of Racial Passing in American Life<\/em> by Allyson Hobbs.<\/p><\/div>\n

 <\/p>\n

Some books are like strange strong drinks: you know from the first sip if it\u2019s your kind of thing. Elia Kazan\u2019s memoir, A Life<\/em><\/a>, is mine\u2014relentless, bitterly funny, extremely unboring. Kazan, one of the most celebrated figures in midcentury filmmaking (he directed A Streetcar Named Desire<\/em>, On the Waterfront<\/em>, East of Eden<\/em>, and more), was born in Turkey to Greek parents, and moved to New York as a child. A restless man, he maintained several sets of clothes and small bank accounts all over the world, into his seventies (when the book was written), in case he felt an urgent need to flee. He is a generous narrator and gossips freely about himself. On page six, he admits that, moments before a press conference for Splendor in the Grass<\/em>, he received a cable, in code, reporting that he \u201chad a new son by a woman not my wife.\u201d A few dozen pages later, he writes, \u201cI consider myself rigidly moral\u2014moral enough, in fact, to admit this: There is one thing I\u2019ve lied about consistently, and that is my relationships to women out of wedlock. I\u2019ve again and again lied to my wives about this.\u201d (Marilyn Monroe was one of his many girlfriends.) He gives himself extraordinary permission and somehow makes you feel it\u2019s earned. He writes, \u201cPeople have often accused me of being selfish and self-centered. They\u2019re quite right. All artists are. They protect like all hell what\u2019s most precious for them\u2014the privilege to exploit the full range of their curiosity.\u201d \u2014Dana Goodyear <\/strong>(\u201cIn the Middle of My Life<\/a>\u201d)<\/p>\n

Peter Cole\u2019s\u00a0Hymns & Qualms: New and Selected Poems and Translations<\/a>\u00a0<\/em>cannot be recommended strongly enough. I\u2019m working through it as slowly as I can stand to, which is not very slowly, because the poems\u2014whether translated from sixth-century Arabic or twentieth-century Hebrew or written by Cole himself\u2014burst with brilliance and vitality. One doesn\u2019t read the poems so much as ride them as they soar across the ages and the spheres. Shmuel HaNagid (who lived in Spain in the eleventh century and served as vizier to the Berber king) is just one of many voices I was awestruck to discover: \u201cOn couches stretched out at the treasury, \/ where the guards\u2019 vigilance knows no relief, \/ you fell asleep without fear by the window \/ and time came through like a thief.\u201d Elsewhere, Cole\u2019s own \u201cSong of the Shattering Vessels\u201d is a Kabbalist mystery made lucid: \u201cNow the lovers\u2019 mouths are open \u2014 \/ maybe the miracle\u2019s about to start; \/ the world within us coming together, \/ because all around us it\u2019s falling apart.\u201d Am I the only one imagining this incanted by Leonard Cohen?\u00a0Hymns and Qualms<\/em>\u00a0is a wise and radiant collection; we are lucky to have our path lit by the light it gives. \u2014Justin Taylor <\/strong>(The Art of Fiction No. 235 with Percival Everett<\/a>)<\/p>\n

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

Among the many memorable stories that Allyson Hobbs tells us in her excellent book,\u00a0A Chosen Exile: A History of Racial Passing in American Life<\/em><\/a>, is the one about the pink hat. The story, written by Radcliffe-trained anthropologist Caroline Bond Day and published in 1926 in the Harlem Renaissance journal Opportunity, <\/em>is a semi-autobiographical tale about \u201cSarah, a \u2018Negro woman of mixed blood,\u2019 \u201d whose life is reconfigured when she wears a hat that conceals her curly brown hair and highlights her ruddy skin: \u201cA gentleman offered her a seat on the train, a young man helped her off a railway car and retrieved her lost gloves, and a salesgirl addressed her as \u2018Mrs.,\u2019 a respectful title reserved for white women only. \u2018Lo! The world was reversed.\u2019\u201d But when Sarah breaks her ankle and her black family members lovingly care for her, she decides that she doesn\u2019t need or want her pink hat after all. Hobbs, a Stanford historian, populates her book with figures from the past who expose the motivations for \u201cpassing\u201d as white, and the costs. Necessarily, Hobbs writes, passing involves erasure: gradations gone, subtleties of color and culture reduced to black and white. What\u2019s lost in the process: families and friends, a sense of belonging. A Chosen Exile<\/em> illuminates those losses with acuity, rigor, and compassion.\u2014Julie Orringer <\/strong>(\u201cNeighbors<\/a>\u201d)<\/p>\n

I walked an old friend around New York the other day and realized most of what I was trying to show her wasn\u2019t there anymore: the bookstores I haunted, the diner I parked at most Saturdays, the corner where my friends and I stood waiting for the Voice to be dropped in its big zip-tied bundles. Some of that came zooming back to me this week as I reread Jamaica Kincaid\u2019s\u00a0Talk Stories<\/em><\/a>, a collection of her \u201cTalk of the Town\u201d pieces from\u00a0The New Yorker<\/em>. They date back to the 1970s, when New York was broke but a lot of fun. The city rises up as a place of lonely walk-ups and\u00a0Friday-afternoon dance parties, groovy soul musicians, and little-known pleasures. Like how happy one can be taking a ham sandwich into a sack-lunch theatre. Kincaid speaks frankly and loves a good list; one fantastic piece simply rattles off the many things Richard Pryor tells her in a hotel interview when he is on one of his vegetarian kicks. She approaches the city with a similar sense that what she is doing and how she sees it is right. She attends a launch for a make-up brand, the opening of the Roosevelt Island cable car, and a party at Sardi\u2019s for a cat who\u2019d edited a book for cats. She makes fun of bad people with their own words and when something is good she likes it very much indeed. I could not say that and get away with it:\u00a0I like this book very much indeed.\u00a0<\/em>But I do\u2014it\u2019s a nearly perfect collection of stories about what is good in New York, and even if it’s no longer there, you’ll be happy to know it was once. \u00a0\u2014John Freeman <\/strong>(\u201cThe Money<\/a>\u201d)<\/p>\n

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

Wrestling with my addiction to and loathing of the Internet, I’ve been taking notes from In the Swarm<\/em><\/a>, a pamphlet by Byung-Chul Han, a Korean-born German philosopher, published by MIT Press in April. \u201cSovereign is he who commands the shitstorms of the Net,\u201d Han declares. Sound timely? Han believes the Internet is “a narcissistic ego machine” that cashiers traditional democratic politics. Once upon a time, it may have been possible for rage to inspire the people of a nation into action, but that was because mass media, like radio, taught citizens how to surrender their individuality and become a people. Today, online, there is no collective soul but only a swarm of isolated individuals, through whom political indignation ripples like a wave\u2014and dissipates. Some of Han\u2019s aphorisms sound very translated from German\u2014\u201cThe new man will finger instead of handling\u201d\u2014and he\u2019s a bit too orphic for a pragmatist like me to take him without a grain of salt. But his pessimism feels salutary. \u2014Caleb Crain<\/strong> (\u201cEnvoy<\/a>\u201d)<\/p>\n","protected":false},"excerpt":{"rendered":"

We asked Julie Orringer, Justin Taylor, Dana Goodyear, and other contributors to our Summer Issue to recommend some 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