{"id":146321,"date":"2020-07-24T16:31:57","date_gmt":"2020-07-24T20:31:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146321"},"modified":"2020-07-24T21:42:11","modified_gmt":"2020-07-25T01:42:11","slug":"staff-picks-sex-work-cigarettes-and-systemic-change","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/24\/staff-picks-sex-work-cigarettes-and-systemic-change\/","title":{"rendered":"Staff Picks: Sex Work, Cigarettes, and Systemic Change"},"content":{"rendered":"
\"\"<\/a>

Still from Life: Untitled<\/em>. \u00a9 Directors Box.<\/p><\/div>\n

Life: Untitled<\/em><\/a>, the 2019 directorial debut from Kana Yamada, is a film that bristles. (It is based on Yamada\u2019s stage play.) Focusing on a contemporary Tokyo escort service called Crazy Bunny, it follows Kano, a young woman who initially attempts to become a sex worker as a way to escape what she explains are the constant failures inherent in an ordinary life. She panics during her first appointment and is instead reassigned as an employee on the office side of the service, scheduling client appointments and buying toilet paper. It\u2019s through her eyes that we get to know the other people working there and the indignities and joys that make up their daily lives. Yamada is unflinching in her criticisms of contemporary Japan\u2019s gender dynamics and sexism, and she asks dark questions about what the commodification of sex means for her characters, from the always-smiling Mahiru\u2014who frequently remarks that she\u2019d like to burn the entire city down and eventually reveals a history of sexual trauma\u2014to Hagio, a male employee who sleeps with older customers on the side and holds nothing back in an ugly, judgmental monologue to Kano. The film is currently available to stream online in the U.S. until July 30 as part of the Japan Society\u2019s annual Japan Cuts film festival<\/a>. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

In the sixties and seventies, New York City experienced a revolution in dance. George Balanchine and Merce Cunningham, who both still cast a long shadow over the art form today, were creating seminal works and new technical styles in ballet and modern, respectively. But the Western dance tradition was built on the marginalization of Black performers and the appropriation of their work, and neither of these men was inclined to make much change. The new aesthetics onstage instead reinforced the near-total exclusion of Black dancers from the mainstream. In the wake of the pandemic and the Black Lives Matter protests, American dance companies are forced to reevaluate their programming and who makes up their ranks. But how will they approach the legacy of these midcentury icons going forward? I\u2019ve been musing on this question ever since a dear friend and Cunningham aficionada shared two recent<\/a> installments<\/a> of the podcast Dance and Stuff<\/em><\/a>. In these episodes, the hosts, Reid Bartelme and Jack Ferver, speak with three of the four Black male members of the Merce Cunningham Dance Company: Michael Cole, Rashaun Mitchell, and Gus Solomons Jr (the fourth, Ulysses Dove, died in 1996). None of them overlapped in the company, and their conversation is correspondingly rich with shared experiences and differing opinions. Topics move from Cunningham\u2019s failure to cultivate representation, to racial politics in the dance world at large, to touring with the company at the height of the civil rights movement. While a seemingly insurmountable amount of work remains to be done in order to make dance racially equitable, this conversation is a start. In response, the Cunningham Trust featured the podcast at the top of its July newsletter, noting that it is \u201ccommitted to addressing the company\u2019s problematic past and promoting diversity and inclusion through its current and future programming and resources.\u201d \u2014Elinor Hitt<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Elizabeth Acevedo.<\/p><\/div>\n

 <\/p>\n

There were some long summer afternoons in my childhood when only the crinkle of a library book\u2019s plastic jacket could bring me back to earth. Books took me away from Maryland, and I particularly liked to read those that showed me there was more to do and say as a young woman than I had realized previously. For children of all ages, I wish a long afternoon this summer with Elizabeth Acevedo\u2019s National Book Award\u2013winning The Poet X<\/em><\/a>. <\/em>Both ambitious and fantastically self-explanatory, Acevedo\u2019s YA novel in verse fills an Amazonian hole in the genre. Acevedo is a poet and began writing and performing poetry as a high school student in New York City. Reading The Poet X, <\/em>I had the satisfying feeling that Acevedo is not only drawing from her own experience as a young person who found in poetry a language she\u2019d been missing, but also writing to offer what she lacked for young people who are just finding that magic. The novel takes the form of a journal of poems written by a high school junior who finds her power in her own body, her own ideas, and in the performance of the verse she has been writing all along. With growing confidence and support, she gives her work the credence already given to her twin brother\u2019s scientific accomplishments and her mother\u2019s religious commitment. The poems are both satisfyingly complete and contiguous. I slipped through a whole chunk of the sizable hardcover with one arm still in my tote bag the other afternoon. So play yourself\u2014or your young person\u2014Representative Alexandria Ocasio-Cortez\u2019s rebuke of the patriarchy<\/a>, and then order The Poet X<\/em> and hear the message from both New York\u2013born beacons: \u201cI will not stay up late at night waiting for an apology.\u201d But they may stay up to change the world. \u2014Julia Berick<\/strong><\/p>\n

William Carlos Williams famously said: \u201cIt is difficult\u2009\/\u2009to get the news from poems\u2009\/\u2009yet men die miserably every day\u2009\/\u2009for lack\u2009\/\u2009of what is found there.\u201d He might as well have been talking about music, too. But it\u2019s important to keep in mind that Williams said \u201cdifficult,\u201d not \u201cimpossible\u201d\u2014because the news can<\/em> be told in abstract narrative strokes, can<\/em> bear emotional witness. I\u2019m thinking today of the jazz trumpeter Ambrose Akinmusire\u2019s powerful new album on the tender spot of every calloused moment<\/em><\/a>. Could there be a better title for this, well, calloused moment, which, like the record, is full of hopeful stirrings, terrified rumblings, and passages of arresting intimacy and sometimes even beauty, calloused as a means of protection against the rampant injustice that each new day in Trump\u2019s America brings? I\u2019m being reductive\u2014about both the moment and the record\u2014but you get the point. Akinmusire is a wildly versatile player, capable of a Wynton Marsalis\u2013like clarity of tone that slides into edgy, uneasy slurring worthy of Lester Bowie. His band has been playing together for a decade, and they\u2019re ever in sync. This music is more guarded than their previous material, more volatile, and seems to be about so much that has happened in recent months\u2014from lockdown and the uprisings following George Floyd\u2019s murder to the current resurgence of the pandemic and the mind-splitting lead-up to the election\u2014though the music was written and recorded well before. It\u2019s another major movement in the soundtrack of now. \u2014Craig Morgan Teicher<\/strong><\/p>\n

If nature takes revenge, the first to fall may well be those poets who reaped it for personal growth, who tortured it with similes and metaphors. Ya Shi will be saved: \u201cThis mountain valley is absolutely not a symbol,\u201d he avows, \u201cbecause I have touched it.\u201d The poems in the astounding Floral Mutter<\/em><\/a>\u2014his first collection in English, translated with remarkable care by Nick Admussen\u2014often start from a place of isolation, a mutual oblivion with the world. \u201cI cannot say that I understand the valley\u2009\/\u2009understand the petal-like, windborne unfolding of her confession,\u201d he writes; later, he asks: \u201cIf god did just as he pleased\u2009\/\u2009would the moon still whisper its secrets to wicked people?\u201d Ya Shi, who teaches mathematics at a university, notes, \u201cNo matter how swift the bird, it cannot solve this math problem.\u201d The opening sonnets are exquisitely alert to the landscape of Sichuan, to the mist on a lake, \u201cthe gem clatter\u2009\/\u2009of spring water.\u201d The land is mutable, strange, bound together through touch and sensation. He writes of lyric poetry as adultery, a poet\u2019s \u201cthirst to see herself in a dream, but without dreaming,\u201d and traces the shared sentiment through laughter, suffering, and endless cigarettes to understanding, then boredom. His vision feels ever new; Ya Shi torches clich\u00e9s like a divorc\u00e9 tossing old love letters on the fire. There is also a sinuous melody to this collection that shows Admussen\u2019s poetic hand. He maintains wordplay from the Chinese (\u201cthe Way that can waylay\u201d) and even interweaves his own, in a manner that still feels true to Ya Shi. \u201cIn life we disturb too much dust. Death ends this reprehensible behavior,\u201d Ya Shi writes, then offers a different view: \u201cLife like light on dust, death like dust in light.\u2009\/\u2009A particolored fantasy.\u201d These sublime poems embody the ecstasy, the oddness of our entanglement with the world. \u2014Chris Littlewood<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Ya Shi.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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