{"id":145792,"date":"2020-06-26T13:22:56","date_gmt":"2020-06-26T17:22:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=145792"},"modified":"2020-06-26T13:55:52","modified_gmt":"2020-06-26T17:55:52","slug":"staff-picks-brownstones-ballpoint-and-belonging","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/06\/26\/staff-picks-brownstones-ballpoint-and-belonging\/","title":{"rendered":"Staff Picks: Brownstones, Ballpoint, and Belonging"},"content":{"rendered":"
\"\"<\/a>

Arundhati Roy. Photo: \u00a9 Mayank Austen Soofi.<\/p><\/div>\n

Haymarket Books will release Azadi: Freedom. Fascism. Fiction.<\/em><\/a>, a slim new collection of essays by Arundhati Roy, this September, but if there were ever a book that, given some minor magic wand, I would abracadabra into publication, it\u2019s this one. The nine essays were written recently, between 2018 and 2020, \u201ctwo years that \u2026 have felt like two hundred.\u201d The words I elided in that sentence are \u201cin India\u201d\u2014as she has said earlier, we should not forfeit \u201cthe rights to our own tragedies,\u201d and Roy\u2019s writing is implacably, unrelentingly specific, digging into the smallest details. That zoom has the paradoxical impact of also revealing broader, more general patterns, fundamental forces that take on different shapes. It\u2019s impossible to read this book now, in America, and not hear the ways in which it is talking to us, too. Given the moment, I think a bit about sickness, how a disease can cause a fever in this person, a heart attack in that person, seemingly nothing at all in the third, but still be the same disease. (\u201cI have begun to wonder why fascism\u2014although it is by no means the same<\/em> everywhere\u2014is so recognizable across histories and cultures.\u201d) And what comes after? As Roy puts it at the end of Azadi<\/em>\u2019s introduction: \u201cReimagining the world. Only that.\u201d \u2014Hasan Altaf\u00a0<\/strong><\/p>\n

Paule Marshall\u2019s 1959 novel Brown Girl, Brownstones<\/em><\/a> is forged by the tension between husband and wife. When Deighton Boyce learns he has inherited land in his native Barbados, he shuffles rapidly through ideas to make quick money in New York before moving his family back home. His wife, Silla, works a factory job and sees in that land only a down payment on a brownstone that will secure for them a life in Brooklyn. These forces of dreamer and realist (and the question of who is which) play out in the imagination of their daughter Selina, the protagonist, whose childhood love of her father and fear of her mother are complicated as she enters adolescence and begins to understand her parents as flawed and human. Marshall vividly renders Selina\u2019s coming of age alongside the family\u2019s push and pull between where they came from and where they are. \u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Installation view of \u201cToyin Ojih Odutola: A Matter of Fact\u201d at the Museum of the African Diaspora. Photo: Johnna Arnold of Impart Photography.<\/p><\/div>\n

 <\/p>\n

San Francisco\u2019s Museum of the African Diaspora recently hosted a pair<\/a> of conversations<\/a> about its 2016\u201317 exhibition \u201cToyin Ojih Odutola: A Matter of Fact.\u201d Ojih Odutola created all the show\u2019s pieces over just one summer, working in charcoal, pastel, and pen\u2014even ballpoint. The exhibition marked her movement away from drawings and toward large-scale portraiture\u2014a genre familiar to the New York audience who saw \u201cTo Wander Determined,\u201d her show at the Whitney a year later. Although the name suggests documentary-grade realism, \u201cA Matter of Fact\u201d presents itself as a novel, each frame containing a chapter in an interconnected narrative. Ojih Odutola\u2019s painted subjects are her characters, members of a fictitious aristocratic Nigerian family who invite the viewer into their opulent portrait hall. Playing freely between life and art, fact and fiction, Ojih Odutola even casts herself in a role: the family\u2019s deputy private secretary. A panel of the museum\u2019s docents virtually welcomed viewers into the well-curated gallery space, where the portraits are offset by burned-orange-red walls that evoke a stately home. As the docent Remi Majekodunmi noted, this gives \u201cthe characters an actual place to live, thrive, and come alive.\u201d Ojih Odutola\u2019s playful wit comes through in the smallest details\u2014the textures of moving fabrics, the posture of bodies in repose, the pearl earrings and silver nail polish that nod to her own signature style. \u2014Elinor Hitt<\/strong><\/p>\n

I first saw Howardena Pindell\u2019s 1980 work Free, White, and 21<\/em> when I was in college and then again a few years later at a Brooklyn Museum exhibition exploring the work of radical Black women artists in the latter half of the twentieth century. I recently rewatched the video; the ICA Boston has, with the artist\u2019s permission, uploaded it to their website in its entirety<\/a>. It\u2019s a sobering work in which the artist recounts in deadpan detail the racism she has experienced throughout her life, from elementary school onward, while wrapping and unwrapping her head in gauze. Juxtaposed with this is footage of Pindell dressed as a white woman who refuses to believe her, repeating again and again, \u201cI\u2019ve never had an experience like that, but then of course, I\u2019m free, white, and twenty-one.\u201d Pindell offers a pointed commentary on not just race, gender, and coming of age in America as a Black woman but also how cultural tastemakers reinforce what is and isn\u2019t considered political in art. \u201cIt\u2019s got to be in your art in a way that we consider valid,\u201d Pindell\u2019s white woman says. \u2014Rhian Sasseen<\/strong><\/p>\n

My love is a poet, and when we leave town, he brings poetry with him. There are, of course, some books that get to travel more often than others; Aracelis Girmay\u2019s Kingdom Animalia<\/em><\/a> has lain by at least a hundred beds. Late one already-tomorrow night this week, after reading several of the book\u2019s familiar, sun-warmed poems, I paged to the acknowledgments. Anyone remotely familiar with this territory in a poetry collection can see her lyric at play here: \u201chand-on-heart gratitude to the DY Prep Slam team (08\u201309), Acentos, & Cave Canem: oh, school & family.\u201d A whole bibliography exists in another section, alphabetical and inspiring: Chris Abani, Elizabeth Alexander; Toi Derricotte, Cornelius Eady. The long kitchen table of Girmay\u2019s thanks is rich and full. In her poetry and her teaching, Girmay makes artwork of seeing people, learning people. Take, for example, \u201cCentral City Senior Center, New Orleans (for Ellen, after Jane Kenyon),\u201d where she sees\u2014\u201cOld friend, I knew\u2009\/\u2009you were something special\u2009\/\u2009when we danced at the Senior Center\u201d\u2014and is seen\u2014\u201c& you, without my saying\u2009\/\u2009a thing, as if you heard the chest its joy\u2009\/\u2009& cardinal, you said yeah<\/em>, just that.\u201d I could hardly do better than take up the lesson of Girmay\u2019s gratitude. A syllabus can be made from the company she keeps\u2014\u201cPatrick Rosal & Ross Gay\u201d\u2014the company that kept Kingdom <\/em>Animalia<\/em>\u2014\u201cthe Aunts & the Uncles, the cousins, my All.\u201d Just before I sat down to write this, I passed a television that offered suggestions for longevity. There were the usual tonics: avocados, olive oil, red wine, dogs, but also community. This makes the deepest medical sense. An ecosystem, a belonging, is vital for art and vital for life. From where I\u2019m sitting, I think Girmay will live forever\u2014a blessing. \u2014Julia Berick<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Aracelis Girmay. Photo: Sheila Griffin.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 waves a magic wand, watches \u2018Free, White, and 21,\u2019 and stays up late reading.<\/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-145792","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Brownstones, Ballpoint, and Belonging by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 waves a magic wand, watches \u2018Free, White, and 21,\u2019 and stays up late reading.\" \/>\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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