{"id":137907,"date":"2019-07-12T13:46:19","date_gmt":"2019-07-12T17:46:19","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=137907"},"modified":"2019-07-12T14:47:08","modified_gmt":"2019-07-12T18:47:08","slug":"staff-picks-whales-waitresses-and-winogrand","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/07\/12\/staff-picks-whales-waitresses-and-winogrand\/","title":{"rendered":"Staff Picks: Whales, Waitresses, and Winogrand"},"content":{"rendered":"
\"\"<\/a>

Leslie Jamison. Photo: Beowulf Sheehan.<\/p><\/div>\n

Earlier this week I had the rare and enviable\u2014if slightly inconvenient\u2014experience of missing a subway stop because I was so engrossed in what I was reading. The culprit: the first essay in Leslie Jamison\u2019s collection Make It Scream, Make It Burn<\/em><\/a>, forthcoming from Little, Brown in September. In the offending essay, \u201c52 Blue,\u201d Jamison explores the science and mythology surrounding a whale whose uncommon song, inaudible to other members of the species, earned him the title \u201cThe Loneliest Whale in The World.\u201d Part reportage, part philosophical musing, Jamison\u2019s meandering prose seeks to understand what the whale represents\u2014morally, symbolically, ecologically\u2014to the community of scientists, artists, and internet followers who identify with it. What emerges is a searching and insightful meditation on obsession, longing, and the telling ways we seek to draw meaning from the natural world. The other thirteen essays in the collection (which can easily be torn through, though should really be savored) contain observations on an eclectic array of subjects, from the eerie past-life memories of young children, to the online community Second Life, to the harrowing legacy of the Sri Lankan civil war. Like the glass in a kaleidoscope, Jamison\u2019s fine-tuned attention seems capable of refracting whatever subject it touches. When I finally looked up from the page\u2014a full two stops past my apartment\u2014it was with a renewed sense of wonder. \u2014Cornelia Channing\u00a0<\/strong><\/p>\n

Reply All<\/em><\/a>, a self-described \u201cpodcast about the internet,\u201d isn\u2019t new\u2014in fact, I\u2019ve been a fan since its first episode in 2014, and somehow it\u2019s only gotten better\u2014but I\u2019ve found myself relistening to old episodes this summer. Created by Gimlet Media, a company with its own interesting evolution<\/a>, Reply All<\/em> is hosted by PJ Vogt and Alex Goldman, whose friendship, authenticity, and curiosity make the show what it is: an original exploration of how to survive modern life. It\u2019s not just an internet explainer or commentary on internet culture\u2014though they do have a segment called \u201cYes Yes No,\u201d which helps break down complex viral tweets and which I find both incredibly endearing in its nerdiness and very helpful. But I like the reported stories best, stories that use the internet as a lens to examine something larger. One of my favorites is \u201cLong Distance<\/a>,\u201d in which Alex befriends a scam caller and then goes to visit him in Delhi. I also recommend \u201cBoy in Photo<\/a>,\u201d in which PJ solves the mystery of an unnamed man in a photograph that went viral, and \u201cThe Snapchat Thief<\/a>,\u201d in which the hosts talk to kids who hack accounts regularly, and get deep into the world of OG handles and SIM swapping. Today\u2019s podcast landscape is crowded and overwhelming, but PJ and Alex feel like old friends, and their stories are by far the best around. \u2014Camille Jacobson<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

James Tate. Photo: Stephen Long.<\/p><\/div>\n

 <\/p>\n

The poet and critic Dan Chiasson refers to James Tate\u2019s final poems\u2014collected in The Government Lake<\/em><\/a>\u2014as \u201cNew England parables<\/a>,\u201d and how exactly right that is. In \u201cDouble-Trouble,\u201d a man falls in love with a diner waitress after discovering they went to the same high school and grew up in neighboring towns\u2014only to discover that their parents are engaged. \u201cIt would be too much like incest,\u201d she tells her beloved, ending their relationship. \u201cPartners\u201d shows two middle-management types falling in love while fighting across their cubicles, and in \u201cElvis Has Left the House<\/a>,\u201d a man takes in the beloved pet raccoon of a terminally ill boy who lives down the street. Some of these stories are more magical than others, but all are fables without morals, slightly wonky reflections of mundane rural life, not quite surreal but certainly absurd. Always there is a tone of something subversive, vaguely perverted. This heady, zany cocktail is the recipe for an adult storybook of tiny worlds, each prose poem constructed with relative uniformity\u2014never less than a page, never more than a page and a half. \u2014Lauren Kane<\/strong><\/p>\n

Perhaps unsurprisingly, I spend a lot of time on the\u00a0Paris Review<\/em> website, reading through our archives and the Daily<\/em>. Because of this, I feel like I\u2019m constantly coming across authors I haven\u2019t read yet\u2014and thus constantly noting down titles on an endless to-read list. I finally knocked a couple out last weekend\u2014the British Nigerian novelist Buchi Emecheta\u2019s In the Ditch<\/em><\/a>\u00a0and the Serbian poet Radmila Lazic\u2019s collection A Wake for the Living<\/em><\/a>, translated by Charles Simic. Both writers take women\u2019s lived experiences as their subject matter\u2014for Emecheta, it\u2019s the everyday life of a Nigerian single mother in a London council estate; for Lazic, it\u2019s erotic relationships between men and women, and the question of statehood. And both are filled with lucid observations concerning how the world treats women, from the domestic violence exacerbated by poverty that Emecheta\u2019s heroine, Adah, witnesses to Lazic\u2019s prickly depictions of sex. So that\u2019s two books off of the to-read list\u2014and many, many more to go \u2014Rhian Sasseen<\/strong><\/p>\n

I saw \u201cGarry Winogrand: Color<\/a>\u201d in the middle of May, on one of the first sunny days of spring. Now, in the thick of July, I keep thinking back to it. I was drawn to the show by Peter Schjeldahl\u2019s review<\/a> in The New Yorker<\/em>, which contains a skeptical line I found particularly intriguing: \u201cThe projections \u2026 go by at clips\u2014eight seconds apiece for horizontal pictures and thirteen seconds for interspersed verticals\u2014that pander to present-day attention deficits.\u201d Would I\u2014someone whose brain is rapidly decaying from Instagram exposure\u2014feel at ease with this rapid pace? Or would I, too, be able to scoff at those who felt eight to thirteen seconds sufficient? What I found in that dark hall, illuminated by images flashing in sixteen thematic sequences, was a release from the bottomless burden of scrolling. I couldn\u2019t dictate the terms on which I viewed these seemingly endless slides\u2014of children, city streets, Coney Island, couples in love, all radiating heat. The power of scrolling taken from me, I waited for the carousel to come back around. I waited for the slides I instantly loved and the ones I hadn\u2019t quite caught. Here were many beautiful images, in greater quality and multitude than Instagram could hope to provide. And I finally felt I didn\u2019t need more images; I needed more time. \u2014Noor Qasim<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Installation view, \u201cGarry Winogrand: Color,\u201d May 3, 2019\u2013December 8, 2019. Brooklyn Museum. Photo: Jonathan Dorado.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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