{"id":146520,"date":"2020-07-31T18:25:19","date_gmt":"2020-07-31T22:25:19","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146520"},"modified":"2020-08-01T12:45:06","modified_gmt":"2020-08-01T16:45:06","slug":"staff-picks-cardboard-cities-choral-singing-and-cross-stitch","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/","title":{"rendered":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch"},"content":{"rendered":"
\"\"<\/a>

Alanna Reeves. Photo: Alanna Reeves.<\/p><\/div>\n

Alanna Reeves<\/a>, a visual artist and writer from Washington, D.C., is an emerging voice in contemporary American art. When Reeves and I went to school together growing up, everyone wanted to model their handwriting after hers. But it was in art class with the printmaker Percy B. Martin that it became clear she was much more than her fastidious script, that she was the real deal. Five years after receiving her B.F.A. in illustration and art history from the Rhode Island School of Design, Reeves has indeed made her mark. Last week, she partook in a virtual conversation<\/a> hosted by Strathmore, offering an overview of her recent work and the theory behind it. The first piece discussed, L\u00edmon<\/em>, was perhaps the most striking: a black-and-white photograph of her paternal grandfather overlaid with yellow embroidery floss in a design inspired by cross-stitch patterns. In much of her work, Reeves reexamines her girlhood pastimes, such as cross-stitch and paper dolls\u2014activities with sets of prescribed patterns and rules. One audience member observed that the stitching looked almost like a chain-link fence, barring uninhibited access to the subject yet inviting the viewer to peer through nonetheless. Reeves agreed, noting that she purposefully left his eyes untouched. Only the corner and lid of one eye are embroidered, delicately stitched in a freehand that deviates from the otherwise geometric pattern. Now Reeves has been doing more printmaking, which, to me, recalls the early influence of Martin. The pandemic has not stopped her momentum, and she will be exhibiting work with D.C. Arts Center in the fall and Strathmore in January. In the meantime, you can keep up with her work on Instagram<\/a>.\u00a0\u2014Elinor Hitt\u00a0<\/strong><\/p>\n

In Italian, arcipelago<\/em> is a near-cognate to the English\u00a0archipelago<\/em>,\u00a0missing only the h<\/em>: a letter of exhalation, ventilation. The latter word provides the title for one of the only book-length surveys<\/a> of Antonella Anedda\u2019s work to be published in English, translated from the Italian by Jamie McKendrick. Ventilated these poems are: whether it is the \u201cstones,\u2009\/\u2009refueling themselves with wind at every stop,\u201d a \u201cbreeze seeping from the heart of the rocks,\u201d or the \u201cair between the orange trees the living gently displace,\u201d the landscape is alive with respiration, while the human figures fail to catch their breath, such as \u201cthe drunkard who yesterday on the windy dock\u2009\/\u2009was rocking and singing with his mouth shut.\u201d Anedda\u2019s ancestral Sardinia is the grand subject of her work, featuring prominently in a beautiful cluster of poems named after Maddalena Island. In one of these, the speaker pauses to \u201cblow on the Bocche,\u201d another fixture of Italian geography with a near-silent h<\/em>, a mountain range in Northern Italy whose name literally translates to \u201cmouths\u201d\u2014the poet, poem, and physical world breathing out as one.\u00a0\u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Jackie Kay. Photo courtesy of the University of Salford Press Office. CC BY 2.0.<\/p><\/div>\n

 <\/p>\n

Jackie Kay is Scotland\u2019s Makar\u2014our national poet\u2014and The Adoption Papers<\/em><\/a> (1991) is her first collection. Kay, who is of Scottish and Nigerian descent, was brought up by white parents in Glasgow, and the adoption referenced in the title is her own. For the first half of the book, three voices are given three different typefaces: Palatino, Gill, and Bodoni. These represent the three women of the adoption triangle: Kay, her adoptive mother, and her birth mother. At first, one might find oneself looking back at the typeface key, making sure of the voice, but as the poems progress, the familiar thoughts, worries, and cadences of each voice are sufficient context to abandon this stop and check. One sees emerging those themes that will reappear in Kay\u2019s later works: belonging, identity, race, and, of course, love. As Ali Smith once noted, Kay writes from \u201ca literary tradition of shapeshift itself, one that finds voice in unauthorised, unexpected forms and places; one often concerned with the search for a communal form.\u201d And it is this search for communal form, I think, that drives the second, less autobiographical part of the collection, \u201cSevere Gale 8.\u201d In Scotland, at the time of Kay\u2019s writing, nothing felt more communal than opposition to the Tories. \u201cThere was no bread,\u201d she writes of eighties Britain, when the bankers \u201csang their tune at the Stock Exchange.\u201d \u201cThere was no bread,\u201d when Thatcher\u2019s \u201cPoll Tax\u2009\/\u2009arrived that winter of the second hurricane.\u201d \u201cThere was no bread,\u201d in the decade \u201cwhen every cardboard city\u2009\/\u2009was so jam-packed that strangers\u2009\/\u2009recognized each other\u2019s smells.\u201d Things are arguably no easier now. The difference today, of course, is that the Scottish Government, established in 1999, is able to position itself between the misdeeds of Westminster and the Scottish electorate. This accounts, perhaps, for the groundswell of support for that other search for a communal form: Scottish independence. \u2014Robin Jones<\/strong><\/p>\n

For more than a decade, the Maryland-based duo Wye Oak has been my favorite working noninstrumental music ensemble. Songwriter Jenn Wasner has a voice that approaches Joni Mitchell\u2013like power and pettiness, and certainly looks back toward Mitchell for how to create melodies and lyrics that have story and drama coded in them. And Andy Stack, the producer and drummer-keyboardist (onstage, he plays both at the same time in a totally ungimmicky way, purely for efficiency), is a sort of invisible wizard. Wasner\u2019s new digital-only solo EP under her Flock of Dimes moniker, Like So Much Desire<\/em><\/a>, shows her to be no less formidable an artist without Stack\u2019s presence. The songs are more piano- or keyboard-centric, without all of Wye Oak\u2019s marvelous genre slaloming, and make for simply beautiful, often breathtakingly so, music to listen to when alone\u2014and who isn\u2019t alone these days? This duo is having a busy month despite lockdown, as today marks the release of Wye Oak\u2019s new five-song EP, No Horizon<\/em><\/a>, a set of indie rock tunes layered atop a bed of choral singing by the Brooklyn Youth Chorus. It\u2019s just magisterial music, transcendent, huge music, yet also sad, intimate, probing. How wonderful it is to hear these artists at the peak of their powers, now a long-lived band but more ambitious than ever. I can\u2019t wait for what\u2019s next. \u2014Craig Morgan Teicher<\/strong><\/p>\n

Four months ago, when I was young, I became obsessed with a relationship map<\/a> of a group of polyamorous, pansexual, occasionally incestuous (but I prefer not to dwell on that) penguins. They paired and parted, frolicked and feuded; woven among them were the aquarium staff, the penguin handlers, some of whom were bound to the penguins only by being despised by the penguins. I was longing for tumult and\u2014oh, God\u2014scandal. In essence, I had been starved for gossip since lockdown. But no matter how charming, the love lives of penguins were no substitute for the mess of human intrigue. So I started The Plum in the Golden Vase<\/em><\/a>, rendered in an extraordinary, erudite, and exhaustive translation by David Tod Roy that spreads over five thick volumes and more than three thousand five hundred pages. Signed off by the \u201cScoffing Scholar of Lan-ling,\u201d apocryphally this sixteenth-century masterpiece was written for the only reason novels should ever be written: revenge. The myth holds that Wang Shizhen wrote a page-turner and then made a toxic ink, or sprinkled a lethal powder on the corner of every page, waging his nemesis would tear through it, licking his fingertips to turn the pages. The Plum in the Golden Vase<\/em> is the most delicious poison. The Chinese title, Jin Ping Mei<\/em>, gives some clue to the layers with which the book was written: it is at once a lovely image of plums in golden vases, a combination of characters from the names of three central women in the novel, and a dirty joke. The book itself was a scandal\u2014dismissed as pornographic and evil, frequently censored and banned, even as it was loved, studied, and imitated. The frank sexuality is part of the novel\u2019s uncommon attention to how people live with one another and how gender, power, and desire shape character. Both wayward and impossibly intricate, it centers on the merchant Hsi-men Ch\u2019ing and his many wives, concubines, children, and servants (Roy uses Wade-Giles romanization rather than pinyin, a choice that contributes to the book\u2019s length). There is scandal by the dozen, and quite possibly everything else, from feasts and faux pas to drinking games, pranks, aphrodisiac overdoses, mean monks, murders, and lengthy arguments about the use of laundry bats. The novel is endlessly allusive, slipping into or parodying classical verse, and Roy catalogues it all in absurdly comprehensive footnotes. His translation also has a playfulness and energy; the insults can be so gloriously zany you pray for an occasion to deploy them (\u201cYou crazy chunk of knife-bait!\u201d). The Plum in the Golden Vase<\/em> has such vitality, such depth of characterization, that it makes life seem drab. It possesses a detail and complexity that seem to halt time. All right, I admit I haven\u2019t finished it yet. But my time at The Paris Review<\/em> is up. Besides, this is a book to read for the rest of your life.\u00a0\u2014Chris Littlewood<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Illustration from The Plum in the Golden Vase<\/em>.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.<\/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-146520","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"July 31, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2020-07-31T22:25:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-08-01T16:45:06+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"828\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch\",\"datePublished\":\"2020-07-31T22:25:19+00:00\",\"dateModified\":\"2020-08-01T16:45:06+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\"},\"wordCount\":1575,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg\",\"articleSection\":[\"This Week\u2019s Reading\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\",\"name\":\"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg\",\"datePublished\":\"2020-07-31T22:25:19+00:00\",\"dateModified\":\"2020-08-01T16:45:06+00:00\",\"description\":\"This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review","description":"This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/","og_locale":"en_US","og_type":"article","og_title":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review","og_description":"July 31, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.","og_url":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2020-07-31T22:25:19+00:00","article_modified_time":"2020-08-01T16:45:06+00:00","og_image":[{"width":1000,"height":828,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg","type":"image\/jpeg"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch","datePublished":"2020-07-31T22:25:19+00:00","dateModified":"2020-08-01T16:45:06+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/"},"wordCount":1575,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg","articleSection":["This Week\u2019s Reading"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/","url":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/","name":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg","datePublished":"2020-07-31T22:25:19+00:00","dateModified":"2020-08-01T16:45:06+00:00","description":"This week, the staff of \u2018The Paris Review\u2019 breathes with Antonella Anedda, shelters in place with Flock of Dimes, and thirsts for gossip.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/07\/image-from-ios.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/31\/staff-picks-cardboard-cities-choral-singing-and-cross-stitch\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Staff Picks: Cardboard Cities, Choral Singing, and Cross-Stitch"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/146520","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=146520"}],"version-history":[{"count":25,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/146520\/revisions"}],"predecessor-version":[{"id":146609,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/146520\/revisions\/146609"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=146520"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=146520"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=146520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}