{"id":141329,"date":"2019-12-06T15:53:47","date_gmt":"2019-12-06T20:53:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=141329"},"modified":"2019-12-06T16:32:53","modified_gmt":"2019-12-06T21:32:53","slug":"staff-picks-battle-hymns-boarding-schools-and-bach","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/12\/06\/staff-picks-battle-hymns-boarding-schools-and-bach\/","title":{"rendered":"Staff Picks: Battle Hymns, Boarding Schools, and Bach"},"content":{"rendered":"
\"\"<\/a>

Sarah M. Broom. Photo: Adam Shemper.<\/p><\/div>\n

Over the holiday weekend, I devoured The Yellow House<\/em><\/a>, Sarah M. Broom\u2019s remarkable and deeply researched memoir about her family\u2019s New Orleans home. The youngest of twelve siblings, Broom grew up in a lively\u2014and at times chaotic\u2014shotgun-style house in the neighborhood of New Orleans East. Bringing together oral history, archival research, and first-person narrative, Broom weaves a multigenerational story of place that celebrates and complicates one of our nation\u2019s most mythologized cities. \u201cThe Yellow House was witness to our lives,\u201d writes Broom. And indeed, the house itself is essentially the protagonist of the story, a living organism animated by the decades of life that course through it like a pulse. Broom is an uncommonly thoughtful archaeologist of her own past, uncovering fragments of near-forgotten stories, dusting them off, and delicately piecing them back together. What emerges is an astonishing and kinetic portrait of the way places shape, and are shaped by, the people who love them. \u2014Cornelia Channing\u00a0<\/strong><\/p>\n

Despite its forbidding setting and circumstances\u2014the draconian and seemingly impregnable \u201cLutheran nunnery\u201d of a girls school in small-town Hungary, 1944\u2014Magda Szab\u00f3\u2019s Abigail<\/em><\/a>, which comes out in January in a translation by Len Rix, is less bleak than her three other novels currently available in English. Fair enough: the author\u2019s most popular book in her native language, Abigail<\/em> was written for young adults, and there is more than enough boarding-school adventure and misery (and camaraderie) here to satisfy that taste (Georgina Vitay is a character as memorable as any Harry Potter or Serena van der Woodsen). To this, Szab\u00f3 adds her usual unmatched empathy and insight; she is a master of misunderstandings, misreadings, the blindness that is part of being human. The relative lack of bleakness is due to there being no real ambiguities in this book; the reading is like an unwrapping, a revealing, which has its own power. In the end, one will not have one\u2019s heart broken the way one did by Iza\u2019s Ballad<\/em> or The Door<\/em>, but this black little heart, at least, will be patient: Szab\u00f3\u2019s range was wide, and New York Review Books, aided by capable translators, is doing a fine job of revealing the scope of her talents to anglophone readers. \u2014Hasan Altaf<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Elias Gottlob Haussmann, Johann Sebastian Bach<\/em>, 1746, oil on canvas, 31 x 24″. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

I won\u2019t pretend to be a scholar of classical music, only a deep lover of what William Carlos Williams calls<\/a> \u201csound addressed\u2009\/\u2009not wholly to the ear.\u201d He means music that rewards being thought about\u2014or that one can hear best, in part, by thinking while one listens. I discovered how much I like to think and listen to Bach\u2019s sonatas and partitas for solo violin only recently, through a 2018 recording<\/a> by the violin virtuoso and classical superstar Hilary Hahn. In this performance, Hahn plays Sonatas 1 and 2 and Partita 1, thus completing the set she began on her very first recording<\/a> in 1997, in which she plays Sonata 3 and Partitas 2 and 3. This is, as I understand, music that great violinists work on over a lifetime\u2014it\u2019s sinuous, vigorous. I won\u2019t try to narrate or paraphrase its moods and modes, but suffice it to say it seems to contain every possible thing if you\u2019re willing to slow down and tuck into it. But this music has hit me deepest in a newer recording, just out from ECM, by the Austrian violinist and conductor Thomas Zehetmair. On his Johann Sebastian Bach: The Sonatas and Partitas for Violin Solo<\/em><\/a>, Zehetmair digs into all the crannies of this crenellated music. If Hahn\u2019s versions feel like an aging house, Zehetmair\u2019s are an old one, creaky in the corners, full of drips and drafts and places people have lived<\/em> and maybe died. I\u2019m not saying they\u2019re better than Hahn\u2019s, just different, maybe dirtier, as if the strings might almost break when the music is at its darkest or brightest. Zehetmair\u2019s versions seem to have been through more heartache; they\u2019re a bit less hopeful, and perhaps, like me, you prefer that sort of thing. \u2014Craig Morgan Teicher<\/strong><\/p>\n

I was initially intrigued by Hermann Ungar because of his connections to Franz Kafka. Ungar, like Kafka, was a Czech Jewish writer in turn-of-the-century Prague who died tragically young and explored themes of power and obsession in his writing; at the 1963 and 1965 Kafka conferences at Liblice Castle, Ungar was mentioned as a member of Kafka\u2019s \u201cPrague circle.\u201d Ungar\u2019s first novel, The Maimed<\/em><\/a>, originally appeared in 1923; in 2002, Twisted Spoon Press published Kevin Blahut\u2019s translation from the German. The novel\u2019s plot follows Franz Polzer, a hapless bank clerk who enters a sadomasochistic affair with his landlady. Thomas Mann apparently called the book \u201ca sexual hell\u201d; reading it is an uneasy experience, and there are moments in the narrative that genuinely surprised me with their explicitness. Polzer, who seems truly unnerved by the sexual appetites of women, reflects back frequently on what might have been an adolescent love affair with his friend Karl, who now lives with an unnamed degenerative illness and whose arm is amputated near the novel\u2019s end. Shame surrounding class and sexuality cloud the book\u2019s claustrophobic atmosphere, and the anti-Semitism of Prague\u2019s Christian community rears its ugly head again and again. By its ambiguous end, The Maimed<\/em> proved to be one of the more tense and thoughtfully perverse reading experiences I\u2019ve had in a while. \u2014Rhian Sasseen<\/strong><\/p>\n

On a recent Sunday, I was folding my laundry while listening to This American Life<\/em>, as white women in Brooklyn are wont to do. It was an old episode, a reaired live recording called \u201cLost in America<\/a>,\u201d which I may have heard years before but now hardly remembered. Midway through the episode, Ira Glass introduces the endearingly nasal voice of Sarah Vowell, who goes on to share an ingenious essay<\/a> on the evolution of the \u201cThe Battle Hymn of the Republic.\u201d She tracks the song\u2019s transformation from \u201cJohn Brown\u2019s Body,\u201d an American Civil War\u2013era celebration of the famed abolitionist, into a staple of state funerals. Vowell\u2019s piece is a spectacular piece of writing but an even better listening experience. A live band plays snippets of each iteration of the song, injecting life and nuance into the analysis. And the audience, their laughter and silence, can help even the most lonely of laundry folders feel a part of something grand, something shared. Like a child or a Catholic, I am moved by all things triumphant. But Vowell articulates perfectly the power of this catchy tune, how over centuries it came to carry the weight of many movements and how the collective power of voices singing in unison can buoy the spirit and affirm our most noble impulses. Of course, this power may be fleeting, but at least, as Vowell notes, \u201cwe\u2019re all in it together, if only for the length of the song.\u201d \u2014Noor Qasim<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Sarah Vowell. Photo: \u00a9 Bennett Miller.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 devours Sarah M. Broom\u2019s memoir, explores the work of a Kafka affiliate, and listens to Bach.<\/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-141329","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Battle Hymns, Boarding Schools, and Bach by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 devours Sarah M. 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