{"id":136644,"date":"2019-05-24T14:39:49","date_gmt":"2019-05-24T18:39:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=136644"},"modified":"2019-05-24T15:39:33","modified_gmt":"2019-05-24T19:39:33","slug":"staff-picks-satire-suzi-wu-and-starling-days","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/24\/staff-picks-satire-suzi-wu-and-starling-days\/","title":{"rendered":"Staff Picks: Satire, Suzi Wu, and Starling Days"},"content":{"rendered":"
\"\"<\/a>

Ma Jian. Photo: Flora Drew. \u00a9 Flora Drew.<\/p><\/div>\n

Ma Jian\u2019s China Dream<\/em><\/a>, translated by Flora Drew and published earlier this month by Counterpoint Press, is a short, sharp-toothed satire of Xi Jinping\u2019s China. The novel depicts a corrupt bureaucrat\u2019s attempts to implement a new government initiative to overwrite people\u2019s dreams. Ma, a dissident writer who lives in exile in London, portrays a contemporary China in which consumerism goes hand in hand with totalitarianism, and memories of the Cultural Revolution surface at the most inopportune events. China Dream<\/em>\u00a0is funny in a kind of hopeless way\u2014the title itself comes from a slogan popularized by the Chinese government in 2013, and a Red Guard\u2013themed orgy scene halfway through reads like a nightmare\u2014and it raises questions about political violence and the suppression of memory that stay with you long after the book has ended. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

Aaron Kunin\u2019s Love Three<\/em><\/a> is a three-hundred-page study of George Herbert\u2019s eighteen-line devotional poem \u201cLove (III)<\/a>.\u201d There\u2019s a clear pattern of advancement and hesitation in Herbert\u2019s poem, and everything\u2014redemption, sanctification, creation\u2014is boiled down to the simplest words in the English language, which is why I\u2019ve been in awe of what Kunin has done in his expansive study. Kunin takes elements of the poem and creates something else entirely. Each numbered section of the book is a restatement of Herbert\u2019s lyric, followed by a paraphrase: \u201cTry to think of it as a third kind of love. The first\u2009\/\u2009kind is nice\u2009\/\u2009The second kind is nasty. Another\u2009\/\u2009kind is nice because it\u2019s nasty. Love three.\u201d Then comes a series of contemplations on what his paraphrases have missed\u2014\u201cHere\u2019s something Herbert might have been thinking about. Magdalen Herbert, his mother, was a powerful woman \u2026 How would I want to change Herbert\u2019s poem?\u201d\u2014and a study of what other critics have written: \u201cHerbert\u2019s style covers the aggression of the penultimate line so that many otherwise careful readers hear only the sweet tone. Sweetness that overpowers every other suggestion.\u201d Then Kunin writes about the poem through his own sexual history; the book is his extensive process of working through a wide range of memories, sexual experiences, fantasies, and limits on the page, and Herbert\u2019s poem is the key. Open Love Three<\/em> to any section and you get an intimate portrait of both poets, and honest reflections on our most complicated feelings. \u2014Camille Jacobson<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Ron Padgett. Photo: Pascal Perich.<\/p><\/div>\n

 <\/p>\n

If Ron Padgett ever returned to Twitter (his account has been dormant since 2016<\/a>), he would be great at it. I mean this as a high compliment\u2014his short, quotidian observations are profound for their simplicity and occasional absurdity (his poem \u201cHow to Be Perfect<\/a>,\u201d illustrated<\/a> by Jason Novak, delivers this effect in a way both satisfying and delightful). His latest collection, Big Cabin<\/em><\/a>, is broken into three parts: the first and third are verse poems, the second a long series of prose entries. All were written over three winters in a Vermont cabin. Padgett\u2019s way of literally presenting reality creates a postmodernist\u2019s world. His poem \u201cIt\u2019s Good\u201d begins: \u201cIt\u2019s good to have a heater\u2009\/\u2009you can hold your hands in front of\u2009\/\u2009to get them warm enough to hold a pen\u2009\/\u2009to write \u2018It\u2019s good to have a heater.\u2019\u2009\u201d When he\u2019s not thumbing his nose at language, he\u2019s writing silly homages to sandwiches and chickadees. Both are deeply pleasing to read and would probably be right at home if shared on your newsfeed. \u2014Lauren Kane<\/strong><\/p>\n

Back in 2017, Suzi Wu\u2019s \u201cTaken Care Of<\/a>\u201d was the pep in my step, the bass in my pace. I replayed it each morning like a mantra. Suzi Wu\u2019s second EP, Error 404<\/em><\/a>, came out at the end of March this year, and its fusion of dancehall bounce and the \u201coccult pop\u201d of her debut EP,\u00a0Teenage Witch<\/em>, immediately became the soundtrack to my train delays and late-night grocery runs, instilling me with a city-kid confidence and the feeling of wearing thick-soled boots. The commanding title track alternates between a rhyming monotone and a growling chorus straight from the internet generation: \u201cI simply am not there.\u201d \u201cHungry,\u201d an absolute bop, has the slick cool of Destiny\u2019s Child and the intimidating banter of M.I.A. Perhaps part of Suzi Wu\u2019s appeal is that even when she\u2019s joking, she does so with a wry realness seldom found on a party playlist. Her voice is elastic, with a drawling accent that wafts from performative pomp to hoarse confession. In many ways, she feels adjacent to a grungy British sensibility\u2014a more feminine King Krule. Suzi Wu distills the spirit of grime to produce songs filled with swagger, underestimated sweetness, and electronic bite. \u2014Nikki Shaner-Bradford<\/strong><\/p>\n

Rowan Hisayo Buchanan\u2019s Starling Days<\/em><\/a> is an exquisite rendering of love, sadness, and misunderstanding. When the protagonist, Mina, is hospitalized following a suicide attempt, her partner attends to her: \u201cFor the whole visiting hour, his face was twisted with confusion. \u2018Why did you do this?\u2019 he\u2019d asked. But she couldn\u2019t point and go, There, that. That\u2019s what\u2019s wrong with me.\u201d The dynamic of this scene replicates itself throughout the novel\u2014the effort to make sense of the inexplicable; the figures\u2019 ensuing confusion; a face always twisted. But just as much as Buchanan maps her characters\u2019 attempts to find answers, she also reveals how in some cases, to press on sadness, to try and root out a single cause, might only push it deeper into the skin. Starling Days<\/em> is an exploration of depression without clear resolution, but it is all the more precious for that refusal. I want to share this book with everyone I know and say, Look: here is a way to be with an emotion without anticipating its meaning. Sadness ebbs and flows but never goes away, and it\u2019s good to know a few more of its edges. I closed this book with a sense of clarity brought not by information, but by submersion. \u2014Spencer Quong<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Rowan Hisayo Buchanan.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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