{"id":147801,"date":"2020-09-25T15:11:11","date_gmt":"2020-09-25T19:11:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=147801"},"modified":"2020-09-25T15:44:03","modified_gmt":"2020-09-25T19:44:03","slug":"staff-picks-monsters-monuments-and-miranda-july","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/09\/25\/staff-picks-monsters-monuments-and-miranda-july\/","title":{"rendered":"Staff Picks: Monsters, Monuments, and Miranda July"},"content":{"rendered":"
\"\"<\/a>

Evan Rachel Wood as Old Dolio Dyne in Miranda July\u2019s Kajillionaire<\/em>. Photo courtesy of Focus Features.<\/p><\/div>\n

In California, you\u2019re always waiting for the Big One. This shaky ground serves as the foundation for Miranda July\u2019s latest film, Kajillionaire<\/em><\/a>, in which the Big One could be either an earthquake or a windfall for an oddball family of three who get by pulling scams and living in the leaky office of a bubble factory. But that\u2019s how they like it, the patriarch claims, saying, \u201cEverybody wants to be a Kajillionaire. I prefer to just skim.\u201d His twenty-six-year-old daughter, Old Dolio, has never known anything but this perpetual absence of money, comfort, and so-called tender feeling. Along comes Melanie, who tries to show Old Dolio a world beyond her parents. Small earthquakes anticipate Old Dolio\u2019s reckoning, interrupting moments of potential intimacy. But little tendernesses urge her to crawl out from the bubble factory basement or the gas station bathroom stall. Even the simplest acts of affection are transcendent, surprising: getting her hair brushed, the word hon<\/em>. Fans of July\u2019s work will not be surprised by the strangeness\u2014the intricate motions of the bodies, the strange encounters, the role-playing\u2014but they might not expect the sense of resolution. This ending is hard earned, though. The cinematography brings out the precious moments of softness as the screen suddenly is overtaken by a sunspot and the soundscape swells. \u201cI\u2019m lucky \u2026 I won\u2019t miss my life,\u201d Old Dolio says when she thinks the Big One has come. She knows this is it, she says, because she\u2019s always been told that when it comes, \u201cit will be all dark all around.\u201d Then she opens the door to blinding light. \u2014Langa Chinyoka<\/strong>
\n<\/p>\n

Opinions abound about what to do with monuments that raise up perpetrators of slavery and colonialism. Toppling or otherwise removing them seems elegantly simple and increasingly likely. The British artist Hew Locke<\/a>, on the other hand\u2014or rather at the same time\u2014uses monuments to portray a more complex history of the men memorialized, the eras they inhabited, and the legacy that present-day viewers inherit. By layering paint and objects over large-scale photographs of statues, Locke adds weight and depth to hollow-cast figures. Thus, a Pilgrim\u2019s iconically austere costume is bedazzled with lacy gold, jet beads, buffalo coins, and delicate but unmistakable chains. George Washington has cowrie shells in his hair, coins on his waistcoat, and shackled humans hanging from his wrists. The British slave trader and philanthropist Edward Colston looks pensive in his statue, which was recently thrown into Bristol Harbor by Black Lives Matter activists, but under Locke\u2019s treatment, covered in gold, jewels, coins, and trading currencies, he appears to be huddling beneath the covers of his ill-gained wealth. This work acknowledges the indelibility of individual lives and acts\u2014the subjects\u2019 and the sculptors\u2019\u2014in all their tangled, tragic truth. Serendipitously, because Locke has never been allowed to execute his vision directly on the statues themselves\u2014only on photo prints\u2014his pieces may well outlast them. \u2014Jane Breakell<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Abdellah Ta\u00efa. Photo: Abderrahim Annag. Photo courtesy of Seven Stories Press.<\/p><\/div>\n

 <\/p>\n

The Moroccan writer Abdellah Ta\u00efa\u2019s novel A Country for Dying<\/em><\/a> (translated from the French by Emma Ramadan) depicts a Paris distinct from the stuff of Anglophone fantasies. The story follows three characters: Zahira, a forty-year-old Moroccan sex worker in love with a man who does not return her feelings; Zahira\u2019s friend Zannouba, who undergoes gender confirmation surgery and reflects on questions of trauma and identity; and Mojtaba, a gay Iranian revolutionary who by chance stays with Zahira for the month of Ramadan. Ta\u00efa, who came out as gay in Morocco, where homosexuality is illegal, in 2006, poignantly portrays the lives of immigrants in a city and country that is frequently hostile to them, and openly questions France\u2019s perception of itself and its immigration policies. \u2014Rhian Sasseen<\/strong><\/p>\n

Art museums are opening, but who among us has not wandered alone the cavernous galleries of the Met wishing they\u2019d taken those art history electives? Whither the visiting lecturers, the docents? The Frick Collection\u2019s YouTube channel<\/a> is here for our untrained eyes. Each installment of the Cocktails with a Curator video series spends about twenty minutes on a close reading of a painting, the perfect amount of time both to feel versed in the work and to treat oneself to the suggested drink pairing: Jean-Auguste-Dominique Ingres\u2019s\u00a0Portrait of Comtesse d\u2019Haussonville<\/em> gets an absinthe concoction, called the Jaded Countess, with a potency that matches the subject\u2019s expression. Regarding Vermeer\u2019s Officer and Laughing Girl<\/em>, the curator Aimee Ng says, \u201cWhen I look at a Vermeer painting up close, I always get the sense that if I could just peel back this top layer of the craqueler<\/em>, the natural cracking that happens to paintings \u2026 if I could only get past that layer, then I could see with absolute precision what was painted there.\u201d For me, Cocktails with a Curator does exactly this. Other series on the channel include Travels with a Curator and What\u2019s Her Story?, which focuses on women such as Audrey Munson, \u201cAmerica\u2019s first supermodel,\u201d whose likeness graces statues and sculptures across New York City. They also have the real meaty stuff, full lectures recorded in the time of auditorium gatherings (these are organized nicely on the Frick Collection\u2019s website<\/a>). It\u2019s a collection unto itself, an energetic effort in art education and appreciation where the casual visitor can lose themselves to what\u2019s on view. \u2014Lauren Kane<\/strong><\/p>\n

At last, the new title from Supergiant Games, one of my favorite developers, has been released in full. Hades<\/em><\/a> has you don the blood-red laurels of Zagreus\u2014son of the Greek god Hades and prince of the underworld\u2014as he tries to flee his father\u2019s wretched domain. Along the way, Olympian gods and various other classical figures such as Sisyphus and the Furies offer you their help or scorn. But in fighting your way through battle-ready shades, skeletons, and monsters, you quickly realize that any escape attempt at this point will end in death. You\u2019re already in the underworld, though, so what does death really mean? It means a return to the bloody pool of souls in your father\u2019s house, where he awaits to reprimand you for your foolishness. But the hacking and slashing are so fun, and hell is so infernal, that you might as well try again. And again. And again. Maybe you make it a bit farther this time, maybe you come up short that time, but there\u2019s less exasperation in death than a strange joy in knowing you\u2019ll get to talk to the fascinating characters in your father\u2019s court once again, pet Cerberus one more time, and make yourself stronger for the next run. And once you\u2019ve settled into the combat, you\u2019ll soon find yourself engrossed in the classical drama unfolding among Zagreus, Hades, and the rest of the underworld. Between the gorgeous artwork and the phenomenal voice acting, you\u2019ll also get sucked into the personal comedies and tragedies of each figure you meet along your journey, from Orpheus to a bashful Gorgon head named Dusa. And lastly, there\u2019s the soundtrack, perhaps the most artful dimension of any Supergiant game\u2014though everything else comes close. The studio\u2019s in-house composer, Darren Korb, crafts a distinctive sound that brings the whole panorama together. In each of Supergiant\u2019s previous works\u2014Bastion<\/em>, Transistor<\/em>, and Pyre<\/em>\u2014the final ballad brought me to tears. I\u2019ve yet to finish Hades<\/em>, but I have no doubt Supergiant will do it again. \u2014Carlos Zayas-Pons<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Still from Hades<\/em>. Photo courtesy of Supergiant Games.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 regrets skipping art history, considers the work of Hew Locke, and hacks through the underworld.<\/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-147801","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Monsters, Monuments, and Miranda July by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 regrets skipping art history, considers the work of Hew Locke, and hacks through the underworld.\" \/>\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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