{"id":137266,"date":"2019-06-14T14:25:04","date_gmt":"2019-06-14T18:25:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=137266"},"modified":"2019-06-14T15:04:16","modified_gmt":"2019-06-14T19:04:16","slug":"staff-picks-jai-paul-journalists-and-just-policies","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/06\/14\/staff-picks-jai-paul-journalists-and-just-policies\/","title":{"rendered":"Staff Picks: Jai Paul, Journalists, and Just Policies"},"content":{"rendered":"
\"\"<\/a>

Olga Tokarczuk. Photo: \u00a9 K. Dubiel.<\/p><\/div>\n

How to describe Olga Tokarczuk\u2019s Drive Your Plow over the Bones of the Dead<\/em><\/a>? Unlike her Man Booker International Prize\u2013winning novel Flights<\/em><\/a>, Drive Your Plow over the Bones of the Dead<\/em>\u2014first published in Poland in 2009 and newly translated into English by Antonia Lloyd-Jones\u2014has a plot. It follows Janina Duszejko, an amateur astrologer and former engineer-turned-teacher, and the series of murders that occur over the course of a winter in a remote Polish town near the Czech border. Unlike Mrs. Duszejko, a vegetarian who fondly refers to local deer as \u201cYoung Ladies\u201d and who, alongside her former pupil Dizzy, likes to translate the poetry of William Blake for fun, the murder victims are all men, all crude, and all hunters. Are the town\u2019s animals taking their revenge? Or is something else going on? While the book itself is a damning indictment of humanity\u2019s attempts to control and destroy nature, it never feels didactic; Mrs. Duszejko\u2019s narration, with its old-fashioned capitalizations and tangents about astrological charts, is equal parts charming and inspiring. Tokarczuk, with her ability to marry the political, the philosophical, and the eccentric, creates a stirring defense of the natural world, even when it is threatened by consumerism and the Catholic Church. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

Ta-Nehisi Coates\u2019s article \u201cThe Case for Reparations<\/a>\u201d was required reading when it was published in The Atlantic <\/em>in 2014. Although debates over reparations have persisted since the antebellum era, Coates\u2019s piece catapulted the concept into the national consciousness, where it has since gained notable traction with the current Democratic candidates and even spurred voluntary-giving groups on Facebook. On Monday, The New Yorker<\/em> published a follow-up interview<\/a> with Coates, which examines the injustice of government-sanctioned inequality, how the public perception of reparations has shifted, and what duty, if any, Coates feels to pursue the subject. Although the research involved in Coates\u2019s original piece is revisited here with a discussion of practical steps toward progress, what\u2019s perhaps most interesting about the interview is Coates\u2019s assessment of the aftermath of his article. Reparations were once dismissed as a sort of social-justice pipe dream, but now the public conversation surrounding the issue is conceptualizing what Coates calls \u201ca policy for repair.\u201d He notes an ongoing initiative in Chicago aimed at remedying and acknowledging police brutality, one example of tailoring reparations for the specific abuses enacted. In the era of skimmable news consumption, there\u2019s some comfort in this demonstration of journalistic influence, even if, as Coates says, his piece was the culmination of a centuries-old effort that hinged on his privileged access to an outlet like The Atlantic<\/em>, and the corresponding obligation such influence might create. \u2014Nikki Shaner-Bradford<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Kimberly King Parsons. Photo: Heather Hawksford.<\/p><\/div>\n

 <\/p>\n

When the temperature gets to be unbearable in August, I recommend picking up a copy of Kimberly King Parsons\u2019s debut collection, Black Light<\/em><\/a>. There is a reckless kind of heat to the tender, broken characters in these stories. Whether it\u2019s two teenage girls exploring the boundaries of intimacy, an eloped couple languishing and landlocked in the middle of Texas, or a single woman navigating motherhood with a bottle tightly clutched in her fist<\/a>, Parsons is both unflinching and eloquent in her portrayals of people as they burn and rage.\u00a0\u2014Lauren Kane<\/strong><\/p>\n

Like most great art, Jai Paul<\/a>\u2019s music exists just out of language\u2019s reach. I could say his songs are lush\u2014they\u2019re immaculately produced and mixed, with an ear for intentionally lo-fi, blown-out elegance. I could say his songs are nearly tactile, stacked as they are with so many different sonic textures. I could say they sound like the work of an incredibly talented Martian who worships Prince. But when I listen to a Jai Paul song, I feel as though I\u2019m stepping through the gates of paradise, and all these useless words fall away like scales. His music\u2014the thrum of \u201cJasmine<\/a>,\u201d the triumphant build of \u201cBTSTU<\/a>,\u201d the twisting, loping, speaker-rattling funk of \u201cHe<\/a>,\u201d all of it\u2014helps me imagine that we\u2019re living in a better world than the one we\u2019ve been dealt. \u2014Brian Ransom<\/strong><\/p>\n

From the outset of Tash Aw\u2019s We, the Survivors<\/em><\/a>, we know Ah Hock has killed a man. We arrive in the aftermath of the crime, listening along with the young journalist who asks Ah Hock about all the years that preceded the incident. Ah Hock speaks of childhood in a fishing village, of time in Kuala Lumpur, of various employments, but most importantly, of the people he knew and how he knew them. After getting promoted to foreman at the fish farm\u2014the last job before the homicide\u2014Ah Hock notices a gulf emerge between him and the other workers. The men become figures on which \u201cit was possible for me to impose my will.\u201d And throughout, Ah Hock sees other splits: the fierce ethnic hierarchies in Malaysia; the alienation between migrants and locals; the stakes of classification as migrant versus refugee. He doesn\u2019t pretend to be free of the prejudices he names throughout his narrative\u2014in fact, his ability to place his own role in the shifting matrix of power is what makes him fascinating to listen to. Even outside his past, in the narrative present, he is acutely aware of the distance between him and his interviewer. Though he shares his entire life with her, he also holds her at a distance, expecting she might find his life strange or terrible. At first, she had approached him as a subject for her research, but later she asks permission to turn the interviews into a book. Does the change show respect for his story, or does it further objectify his body? Does she turn him into a fossil? I don\u2019t think there\u2019s meant to be a single answer to those questions. Rather, I believe that as witnesses to the endless fracturing of this novel and our world, we are meant to understand the impossibility of pressing a life onto paper without both deadening it in some sentences and enlivening it in others. \u201cAt first I wanted to protect her from these stories,\u201d Ah Hock reflects, \u201cbut as I was talking I realized that I wanted her to be a part of that pain, to make sure that it seeped into her world, her clean, happy world. I wanted it to be a cloud that hung over her everywhere she went, just as it does over me, all the time, and that\u2019s why I didn\u2019t stop talking.\u201d \u2014Spencer Quong<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Tash Aw. Photo: \u00a9 Andrew Whittuck for 4th Estate.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 revels in the music of Jai Paul, revisits \u201cThe Case for Reparations,\u201d and lingers in the heat of Kimberly King Parsons\u2019s debut.<\/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-137266","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Jai Paul, Journalists, and Just Policies by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 revels in the music of Jai Paul, revisits \u201cThe Case for Reparations,\u201d and lingers in the heat of Kimberly King Parsons\u2019s debut.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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