{"id":135382,"date":"2019-04-12T14:18:11","date_gmt":"2019-04-12T18:18:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=135382"},"modified":"2019-04-12T14:22:11","modified_gmt":"2019-04-12T18:22:11","slug":"staff-picks-horses-heaney-and-hypebeasts","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/04\/12\/staff-picks-horses-heaney-and-hypebeasts\/","title":{"rendered":"Staff Picks: Horses, Heaney, and Hypebeasts"},"content":{"rendered":"
\"\"<\/a>

Still from V\u011bra Chytilov\u00e1\u2019s Daisies<\/em>. Courtesy of Brooklyn Academy of Music.<\/p><\/div>\n

You\u2019ve probably seen Daisies<\/em><\/a>, V\u011bra Chytilov\u00e1\u2019s dizzying 1966 masterpiece, especially if you were a young woman in the early aughts browsing LiveJournal or Tumblr, where screenshots of its two heroines dancing, throwing food, and declaring themselves \u201cspoiled\u201d abounded. But it\u2019s difficult to find the rest of Chytilov\u00e1\u2019s films. Over the years, I\u2019ve seen only two: the aforementioned Daisies<\/em> and 1963\u2019s Something Different<\/em>, available via the Criterion Collection. That\u2019s why I\u2019m excited to spend the next few days essentially living inside the Brooklyn Academy of Music for their series \u201cThe Anarchic Cinema of V\u011bra Chytilov\u00e1<\/a>.\u201d What does a teen horror movie\u2013meets\u2013metaphor for authoritarian repression look like under a director like Chytilov\u00e1? Or a comedic critique of the aging male libido? I guess I\u2019m going to find out this weekend\u2014and maybe you will, too. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

There\u2019s a woefully sparse amount of Seamus Heaney in the Paris Review<\/em> archive (two poems<\/a> and an Art of Poetry interview<\/a>), but a selection of a hundred Heaney poems, newly compiled by his daughter five years after his death, will be released this summer<\/a>. In her tender introduction, Catherine Heaney writes that she hopes \u201ca newcomer will enjoy reading these poems for the first time, and that the long-time devotee might rediscover a forgotten favourite or simply listen again to the poetic voice as it changes and matures over the course of the years.\u201d Reading through this relatively slim selection of Heaney\u2019s understated verse, I was both new initiate and old friend; as I lingered, I felt a gratitude for Heaney and a pang of loneliness that he is gone. The last line of his poem \u201cBlackberry-Picking\u201d sings this conflicted sense of mourning beautifully: \u201cEach year I hoped they\u2019d keep, knew they would not.\u201d \u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Jenifer Sang Eun Park. Photo: Pruthul K. Ravindranath.<\/p><\/div>\n

 <\/p>\n

Jenifer Sang Eun Park\u2019s Autobiography of Horse<\/em><\/a>\u2014out this month from Gaudy Boy, a new indie press that publishes authors of Asian heritage\u2014documents her \u201ccritical obsession\u201d with horses. The obsession is \u201ccritical\u201d in that it is turned toward and engaged with. Poetry might sometimes be imagined as a salve, but here it is a \u201cvessel,\u201d a site that allows the self to wash over the self. There are risks associated with telling people you love anything: \u201cThis is when people give you things imprinted with the horse\u2014a book, a mug, a poster, a sticker, a shot glass, a stuffed horse, etc.,\u201d she writes. \u201cEach gift is another device for torture.\u201d It\u2019s not that the gifts are ill-intended. In fact, this kind of gesture reminds me of all the small ways we try to reach each other on a daily basis: repeatedly, frenetically. Gestures nearly always result in a mix of recognitions and misses. Would we really want a gesture to make us feel entirely seen\u2014that is, transparent? After reading Jenifer Sang Eun Park, I am more willing to accept life\u2019s inevitable excess, though it\u2019s terrifying: \u201cI\u2019m afraid of looking into the horse\u2019s eyes and finding in that single gaze the meaning of both hatred and love.\u201d Autobiography of Horse<\/em> is a high-wire act of accepting a multiplicity of voices and forms. It slips into different personas, into images, back to text. The book asks its reader: Will you hold all of these things at once? Sometimes the horse knows itself to be good enough, sometimes less so. Sometimes the horse is hiding, but always, by putting itself on the page, the horse is not alone. \u2014Spencer Quong<\/strong><\/p>\n

There are some days I feel as old as subway tiles, and this week was a string of them. Postponing an email I felt too ancient to type, I read a profile<\/a> of the singer-songwriter Tayla Parx<\/a>. I like a woman who knows her strengths, and I love a writer behind the scenes. Parx is both, and she\u2019s an all-star. She\u2019s written No. 1 hits in nearly every genre, perhaps most notably for Ariana Grande, but her own music is what provided the Aphrodite dip I was looking for. Parx\u2019s videos for \u201cMe v. Us<\/a>\u201d and \u201cI Want You<\/a>\u201d overflow with juicy hues, and her completely magnetic presence gave me the spring-dress feeling I never feel. It\u2019s pop with pop. And instead of griping about autotune or kids these days, I just adjusted my headphones and bumped up the volume. \u2014Julia Berick<\/strong><\/p>\n

Along with the rest of the internet, I\u2019ve spent the past two weeks wandering in an angsty trance spurred by the pop singer Billie Eilish<\/a>\u2019s new album, When We All Fall Asleep, Where Do We Go?<\/em><\/a> If you\u2019ve heard about it, you likely fall into one of two camps. The first holds a highbrow suspicion of the seventeen-year-old homeschooled hypebeast. But I\u2019m not onboard with the popular inclination to deny teenage girls credit for their significant cultural influence, so I fall into the second group: those who are awestruck and raving on Twitter. When We All Fall Asleep, Where Do We Go?<\/em> is not a perfect album (I skip \u201cxanny\u201d and \u201cwish you were gay\u201d), but songs like \u201cilomilo\u201d are so good I\u2019ve been hopping off the subway early and walking the rest of the way home, seeking out moments of solitude so I can rest my mind in Eilish\u2019s ambiguous emotional void. It\u2019s easy to call her some mix of Lorde, Banks, and maybe FKA Twigs, but those parallels feel insufficient. Eilish\u2019s best quality is the contradiction she represents: fragile but invincible, scared yet defiant. In \u201cyou should see me in a crown\u201d and “bury a friend,” a darker, bass-dropping bravado is accentuated by the sound of a knife being sharpened and an unsettling shriek. Eilish is prepared to duel with an eerie growl, but in \u201cwhen the party\u2019s over,\u201d she offers a reluctant vulnerability, lilting \u201cI could lie, say I like it like that.\u201d A tension remains between the image she creates\u2014lounging in Louis Vuitton cargo shorts or chomping down on a spider\u2014and the soft hum of her voice. Perhaps this is what\u2019s most striking and appealing about Eilish: despite the swagger, her music contains an underlying anxiety and the desire to push beyond it. It\u2019s a feeling I identify as distinctly teenage girl, which is to say human. \u2014Nikki Shaner-Bradford<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Billie Eilish. Photo: Justin Higuchi from Los Angeles, CA, USA (CC BY 2.0 (https:\/\/creativecommons.org\/licenses\/by\/2.0)).<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 embraces pop, obsesses over horses, and sets out to explore some of V\u011bra Chytilov\u00e1\u2019s deep cuts. <\/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":[],"class_list":["post-135382","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Horses, Heaney, and Hypebeasts by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 embraces pop, obsesses over horses, and sets out to explore some of V\u011bra Chytilov\u00e1\u2019s deep cuts.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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