{"id":112444,"date":"2017-07-13T09:41:03","date_gmt":"2017-07-13T13:41:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=112444"},"modified":"2017-07-13T12:20:50","modified_gmt":"2017-07-13T16:20:50","slug":"time-to-brush-up-on-your-demonology-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/07\/13\/time-to-brush-up-on-your-demonology-and-other-news\/","title":{"rendered":"Time to Brush Up on Your Demonology, and Other News"},"content":{"rendered":"<div id=\"attachment_112445\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/oildemon.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-112445\" class=\"wp-image-112445 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/oildemon.png\" width=\"1000\" height=\"772\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/oildemon.png 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/oildemon-300x232.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/oildemon-768x593.png 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-112445\" class=\"wp-caption-text\">Ukobach, a minor oil demon, depicted by M. Jarrault.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>At this point, there\u2019s no good reason not to become a Satanist. If I\u2019m going to swear an oath of fealty to a demonic, sadistic, megalomaniacal overlord, it may as well be Satan himself, instead of some bush-league rip-off. (The faker has orange skin; the real deal is straight <em>crimson<\/em>.) Even if you\u2019re on the fence about Lucifer, it\u2019s a fine time to brush up on the basics of Satanism; one never knows when a well-worded appeal to the powers of Hell will come in handy. In a new essay, Eric Grundhauser looks back at Jacques Collin de Plancy\u2019s <em>Dictionnaire Infernal<\/em>, which provides a great primer on the cast of demons down below. Also, it has nice drawings: \u201c<a href=\"http:\/\/www.atlasobscura.com\/articles\/demons-illustrations-dictionnaire-infernal\" target=\"_blank\">De Plancy published dozens of titles in his lifetime, but he never surpassed the success (or infamy) of the\u00a0<em>Dictionnaire Infernal<\/em>, which first appeared in 1818 and was followed by several updated editions<\/a>. The full subhead for the 1926 edition describes the book as a \u2018universal library on the beings, characters, books, deeds, and causes which pertain to the manifestations and magic of trafficking with Hell; divinations, occult sciences, grimoires, marvels, errors, prejudices, traditions, folktales, the various superstitions, and generally all manner of marvelous, surprising, mysterious, and supernatural beliefs.\u2019 Many of the demonic descriptions in the\u00a0<em>Dictionnaire Infernal<\/em>\u00a0have their roots in earlier demonological texts, such as the sixteenth century\u00a0<em>Pseudomonarchia Daemonum<\/em>, or the seventeenth century\u00a0<em>Lesser Key of Solomon<\/em>. Both of those titles contained hierarchical descriptions of Hell\u2019s many denizens, versions of which de Plancy included in his text. Among the spirits presented in de Plancy\u2019s book are well-known evils such as Lucifer and greedy Mammon, but also more obscure devils such as the lower demon Ukobach, who tends to fireworks and oils, and the bellows-bearing fallen angel Xaphan.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Most people don\u2019t read poetry. Press them about this and they\u2019ll usually say something like, \u201cI don\u2019t \u2018get\u2019 it,\u201d or \u201cIt\u2019s just so pretentious,\u201d or \u201cThe poets have degraded our society\u2019s moral fiber, and they killed my baby.\u201d You should never accept the first two reasons as an excuse. As Matthew Zapruder writes, there\u2019s no reason to believe that poetry isn\u2019t straightforward or that you can\u2019t understand it, even if you regard yourself as a rube: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/07\/10\/books\/review\/understanding-poetry-is-more-straightforward-than-you-think.html\">Like classical music, poetry has an unfortunate reputation for requiring special training and education to appreciate, which takes readers away from its true strangeness, and makes most of us feel as if we haven\u2019t studied enough to read it<\/a> \u2026 The art of reading poetry doesn\u2019t\u00a0<em>begin\u00a0<\/em>with thinking about historical moments or great philosophies. It begins with reading the words of the poems themselves \u2026 Good poets do not deliberately complicate something just to make it harder for a reader to understand. Unfortunately, young readers, and young poets too, are taught to think that this is exactly what poets do. This has, in turn, created certain habits in the writing of contemporary poetry. Bad information about poetry in, bad poetry out, a kind of poetic obscurity feedback loop. It often takes poets a long time to unlearn this. Some never do. They continue to write in this way, deliberately obscure and esoteric, because it is a shortcut to being mysterious. The so-called effect of their poems relies on hidden meaning, keeping something away from the reader.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>MTV News recently dismissed its staff writers, announcing that instead the site would produce mainly dumb videos for dumb kids. Apparently the writers\u2019 editorial independence was simply too bothersome for MTV, which would prefer nothing but good news and sunny days for America\u2019s top musical acts. Amanda Petrusich wonders if this is a further blow to critics and criticism: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/mtv-news-and-the-threats-to-negative-criticism\" target=\"_blank\">I often catch myself suspecting that work that\u2019s been unilaterally praised is either boring (what kind of art is so innocent and uncomplicated as to bestir only gracious titters of approval, like a child\u2019s finger painting?) or provocative in such a way that critics are paralyzed, terrified to dissect it for fear of being seen as unsophisticated or boorish<\/a>. Mostly, though, I think of what a weird and tedious trajectory it would be for an artist never to have someone consider her work seriously enough to question its motives and its successes \u2026 The results of any attempt at art-making are not insignificant; a dissection of them is not an idle or contrarian pastime. The relationship between a critic and her subject should be thought of as symbiotic, generative, important. Otherwise, art risks becoming an exercise in self-indulgence (so does criticism). The idea that anything should exist merely to provoke drooling adulation for its maker is, of course, absurd.\u201d<\/li>\n<\/ul>\n<ul>\n<li>From 1916 to 1964, the scientist William Beebe presided over the Department of Tropical Research, which explored all kinds of heretofore mysterious jungles and oceans and discovered a host of new and exotic species. The DTR included in its ranks a team of artists and illustrators whose task was to show the world these new creatures in vivid detail. Now the Drawing Center is hosting an exhibition dedicated to their work<em>. <\/em>Sam Lubell explains, \u201c<a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2017\/07\/the-weird-scientific-illustrations-that-shaped-pop-culture\/533139\/\" target=\"_blank\">In the absence of suitable photographic technologies, painters and illustrators had long accompanied scientific teams on their missions<\/a>. The difference with the DTR was that its leader, Beebe\u2014a bestselling author and star in his own right who was a good friend of well-known performers, politicians, and tycoons\u2014wanted his work to reach beyond the academy. It helped that his team was unveiling organisms, particularly those in the deep seas, that had never before been seen by man \u2026 DTR illustrators\u2014some of whom were also scientists\u2014would perch in tropical forests with drawing papers in their laps or even strap zinc tablets to their swimsuits to sketch sea creatures. Some would make tiny specimens in jars come to outsized life, while others would paint in real time as Beebe and his colleagues recounted what they saw from hundreds of feet under the water.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Laura Shapiro\u2019s new book,\u00a0<em>What She Ate<\/em>, tells the stories of six women through their diets, which are, Shapiro argues, an essential component of a life. Among the six is Barbara Pym, for whom food was paramount. Laura Miller writes, \u201c<a href=\"http:\/\/www.slate.com\/articles\/arts\/books\/2017\/07\/what_she_ate_by_laura_shapiro_reviewed.html\" target=\"_blank\">What her characters eat reflects their fledging dreams and chastened realities, but Shapiro makes the case that they also tell an alternate version of the history of British cuisine in the postwar years<\/a>. In one of Pym\u2019s novels, a woman serves the man she\u2019s crushing on a lunch of fresh lettuce dressed in a bit of olive oil and salt, with crusty bread, camembert, and greengage plums for dessert. The repast, which first appeared in one of Pym\u2019s many notebooks in 1948, isn\u2019t fancy, but it puts the lie to the widespread notion that all English people subsisted on boiled meat and vegetables followed by suet pudding. Her diaries and fiction, which include plenty of bad meals but also many appetizing ones, constitute what Shapiro describes as \u2018a revisionist history of midcentury British cooking.\u2019 And it wasn\u2019t just Pym who breaks the stereotype. Shapiro also unearthed a newsletter composed of reader-contributed reports on good local restaurants that specialized in dishes like \u2018roast woodcock with herbs and white wine.\u2019 A mimeographed precursor to Yelp, it proves that plenty of Pym\u2019s countrymen both prepared and sought out good food.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: how to swear fealty to the real Satan; poetry is easier to read than you think it is; the Barbara Pym diet; and more.<\/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":[3528,29522,478,29525,29520,12974,29521,5846,483,29523,7221,165,2047,14722,29526,29524],"class_list":["post-112444","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-barbara-pym","tag-comprehension","tag-criticism","tag-department-of-tropical-research","tag-dictionnaire-infernal","tag-drawing-center","tag-jacques-collin-de-plancy","tag-laura-shapiro","tag-mtv","tag-mtv-news","tag-poems","tag-poetry","tag-poets","tag-satanism","tag-what-she-ate","tag-william-beebe"],"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>It\u2019s Never a Bad Time to Brush Up on Your Demonology<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: how to swear fealty to the real Satan; 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