{"id":140711,"date":"2019-11-01T15:35:24","date_gmt":"2019-11-01T19:35:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=140711"},"modified":"2019-11-01T17:28:35","modified_gmt":"2019-11-01T21:28:35","slug":"staff-picks-tigers-transliteration-and-truth","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/11\/01\/staff-picks-tigers-transliteration-and-truth\/","title":{"rendered":"Staff Picks: Tigers, Transliteration, and Truth"},"content":{"rendered":"
\"\"<\/a>

Zeb Bangash performing on Coke Studio<\/em>. Photo courtesy of Coke Studio Pakistan.<\/p><\/div>\n

There are many things I love about Coke Studio<\/em><\/a>. One of them is the show\u2019s commitment to lyrics and subtitles; on most songs, such as this season\u2019s \u201cRoshe,\u201d they are presented four times: in the original language, transliterated into roman, translated into Urdu, and translated into English. In a country as diverse as Pakistan, who else is making the effort to render a Kashmiri song comprehensible to those who don\u2019t speak Kashmiri? (And yes, in an ideal world you would be able to find those lyrics in Sindhi and Seraiki and Ormuri and Brahui and Kalasha-mun and Domaaki, too; baby steps.) But more than that, I think the show is special because at a moment obsessed with purity, it is so resolutely and inherently the opposite. It has its own homogeneity, that Coke Studio<\/em> sound, but its most successful songs aren\u2019t necessarily those that could be considered objectively \u201cthe best\u201d (that will always be Abida Parveen, solo, by herself, no questions). Instead, the greatest\u00a0Coke Studio <\/em>moments emerge from the most daring experiments: Season 3\u2019s \u201cAlif Allah,\u201d performed by the entirely unexpected duo of Meesha Shafi and Arif Lohar; the mixed-up \u201cGhoom charakhra\u201d by Ali Azmat and Abida in Season 11. So far, Season 12 hasn\u2019t delivered anything living up to that mark, but we are only two episodes in\u2014I\u2019d suggest you keep watching, and remember that purity is to be aspired to only in fabrics. With such fertile ground, why wouldn\u2019t you want to see all the kinds of flowers that can grow? \u2014Hasan Altaf\u00a0<\/strong><\/p>\n

The new issue of Asymptote<\/em><\/a> is as interesting as always, but one piece in particular stood out to me: \u201cBrain and Me<\/a>,\u201d written by the young Korean poet Moon Bo Young and translated by Hedgie Choi. \u201cMy lover left behind his brain when he left me,\u201d go the arresting first lines. \u201cI guess I could blend it into a smoothie and drink it.\u201d The rest of the poem is a brutal combination of prose and poetry reflecting on the end of an affair. Choi\u2019s translation contains a coldness, a steeliness, that reminds me at times of Anne Carson\u2019s equally devastating breakup poem \u201cThe Glass Essay.\u201d A lot of really exciting work seems to be happening among contemporary Korean women writers, and I\u2019m grateful for the translators who are working to bring this work to an English-speaking audience. \u2014Rhian Sasseen<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Douglas Dunn (left), Carolyn Brown (rear), and Merce Cunningham (far right) perform at the Shiraz Art Festival, 1972. Photo courtesy of the Cunningham Dance Foundation archive. Via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

During one of many ballet classes in high school, I stood in the corner as our imperious, devoutly Catholic teacher wondered why I had failed to execute a combination. \u201cI wasn\u2019t paying enough attention to the music,\u201d I offered. I had just unknowingly confessed to a cardinal sin. Godliness, goodness, coordination, harmony\u2014I quickly learned that these were all one and the same. The truth of this lesson remained firm within me until it was jostled earlier this week by two remarkable performances. One, the play and film What if they went to Moscow?<\/em><\/a>, was a part of BAM<\/small>\u2019s Next Wave Festival<\/a>. While much was remarkable about the lush and friendly production, a Brazilian adaptation of Chekhov\u2019s Three Sisters<\/em>, I was particularly entranced by a sort of dance performed by Julia Bernat. She thrashed around the stage, drunk, in a black dress and precarious black pumps, to the System of a Down song \u201cFuck the System.\u201d She leaned backward, arms flung stiffly in front of her, screaming in perfect unison with the spastic, sinful music. The next evening, I watched the graceful dancers of New York City Ballet execute with precision the work of Merce Cunningham set to John Cage. This performance was the first of three events this fall hosted by Alastair Macaulay for New York City Center\u2019s Studio 5 Series<\/a>. Cunningham, Macaulay explained, requires of dancers a rigorous internal rhythm entirely separate from the score. One dancer remarked that, while onstage, she hardly noticed the music. Cunningham, we all agreed, was holy, \u201ca religious experience.\u201d Of course, I wasn\u2019t studying Cunningham all those years ago, nor was I careening around the BAM<\/small> Fisher. But these two dances were a welcome reminder that harmony need not be good, and the good need not be harmonious\u2014and that any combination can be absolutely marvelous to watch. \u2014Noor Qasim<\/strong><\/p>\n

When the indie-rock band Big Thief released their third album, U.F.O.F.<\/em><\/a>, earlier this year, it was immediately lauded as a masterpiece by critics and listeners alike. The album was a sort of breakthrough for the band, bringing them a bit more into the mainstream. But not six months later, they\u2019ve released another album, Two Hands<\/em><\/a>. I am stunned first by their unprecedented productivity, producing a sister album so soon after their previous release and so close to the year\u2019s end, but mostly by how good it is. Two Hands<\/em> functions as an independent artistic statement, but it also works in conversation with U.F.O.F.<\/em>\u2014mystical yet grounded, part whisperings, part rocking out. The ten songs on\u00a0Two Hands<\/em> have a restrained, spare quality I can\u2019t stop listening to. The lyrics of the title track set the tone for the record, moving in a kind of loop: \u201cAnd the more that we try\u2009\/\u2009To figure through the answers\u2009\/\u2009To repeat ourselves\u2009\/\u2009to deny, deny\u2009\/\u2009To deny, deny, deny.\u201d Go listen to it on repeat\u2014the best album of the year has only just arrived. \u2014Camille Jacobson<\/strong><\/p>\n

This week, my mom came to town and got us tickets to see a \u201cmagic show.\u201d At least, that\u2019s what she called it. I had never actually been<\/em> to a magic show, but the phrase brought to mind images of tigers, smoke machines, glitter, men in tuxedos waving wands. I expected, if not rabbits disappearing into hats, then, at the very least, to see someone get sawed in half. What I got, though, was something quite different. Derren Brown\u2019s Secret<\/em><\/a>, up at the Cort Theatre in Times Square until January, is less a traditional magic show than it is a kind of psychological experiment. The performance incorporates elements of hypnotism, subliminal messaging, and clever sleight of hand to influence the audience in a kind of participatory illusion. Without giving away too much, lest I ruin it for any future viewers, all I\u2019ll say is there was mind reading, there was fortune-telling, objects appeared from thin air and disappeared again seemingly at will. Illusionist shows of this sort have been around for thousands of years; they experienced something of a heyday in New York in the thirties, an era that Brown\u2014dressed in a tailcoat and standing before a red velvet curtain\u2014recalls in much of his staging. I spent a great deal of the show reverse engineering the tricks in my mind\u2014scanning the stage for evidence of trapdoors or hidden cameras, trying to figure out how everything worked. I have my theories. Several stunts, though, left me totally at a loss, their possible explanations seeming even more far-fetched and unlikely than the existence of an ineffable \u2026 magic. Among the crowd spilling out onto the chilly sidewalk after the show, I found myself warmed with a childlike sense of mystery. \u2014Cornelia Channing<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Derren Brown. Photo: \u00a9 Seamus Ryan.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 considers \u2018Coke Studio,\u2019 attends two performances, and sees a magic show for the first time.<\/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-140711","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Tigers, Transliteration, and Truth by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 considers \u2018Coke Studio,\u2019 attends two performances, and sees a magic show for the first time.\" \/>\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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