{"id":148011,"date":"2020-10-02T14:21:49","date_gmt":"2020-10-02T18:21:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=148011"},"modified":"2020-10-02T14:54:16","modified_gmt":"2020-10-02T18:54:16","slug":"staff-picks-haiku-hearts-and-homes","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/02\/staff-picks-haiku-hearts-and-homes\/","title":{"rendered":"Staff Picks: Haiku, Hearts, and Homes"},"content":{"rendered":"

\"\"<\/a><\/p>\n

The writers featured in Two Lines Press\u2019s Home: New Arabic Poets<\/em><\/a> hail from Egypt, Lebanon, Palestine, Syria, and elsewhere, and all write with one eye turned toward the personal, the everyday, and the other toward the political. The result is unbelievably exciting, the kind of writing that makes you want to sit down at your desk and get to work. From Mohamad Nassereddine\u2019s \u201cDogs,\u201d translated by Huda Fakhreddine (\u201cI want to write you\u2009\/\u2009a love poem.\u2009\/\u2009I search for language\u2009\/\u2009for a tender word.\u2009\/\u2009But words line up like trained dogs\u201d), to Riyad al-Salih al-Hussein\u2019s \u201cA Marseillaise for the Neutron Age,\u201d translated by Rana Issa and Suneela Mubayi (\u201cWe live in the neutron age\u2009\/\u2009The age of quick kisses in the streets\u2009\/\u2009And being utterly vanquished in the streets\u201d), these are poems to read and reread, repeating the lines as though they were a secret between yourself and the page. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

In the director Merawi Gerima\u2019s debut feature, Residue<\/em><\/a>, the anticipated anxieties of returning to one\u2019s childhood home are pushed aside by a neighborhood made unrecognizable. Jay, the movie\u2019s protagonist, is a filmmaker who is trying to write about home. But when he finds himself back in D.C., he discovers that he\u2019s not the only one who has changed. Of all the things he felt unsure about, his neighborhood he expected to be the same. Jay attempts to reconcile his memories of home with the disorientation of a newly gentrified reality, the seemingly hostile takeover. The film is quiet, reserved, as if it knows better than to give too much. I can\u2019t help but compare it with Joe Talbot\u2019s The Last Black Man in San Francisco<\/em>; both movies are about gentrification, community, and Blackness, but each is distinct. Less romantic than The Last Black Man in San Francisco<\/em>, Residue<\/em> asks essential questions about ownership and belonging. If you were the one who left, can you still be betrayed by the loss? \u2014Langa Chinyoka<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Laura Marling. Photo: Justin Tyler Close. Courtesy of Partisan Records.<\/p><\/div>\n

 <\/p>\n

Yet another musical train I am late to board is the one driven by the British singer and songwriter Laura Marling. People hipper than I am knew about her years ago, but I received her excellent seventh album, Song for Our Daughter<\/em><\/a>, from my LP-of-the-month club, and I am just blown away. Marling is at least the second musician I have compared to Joni Mitchell (who is the keeper of, to paraphrase the poet James Richardson, the heart beneath my heart) in a staff pick, and she seems to be directly channeling the utterly exposed confessional lyricism and even the emotional aura of Joni\u2019s music. On \u201cAlexandra,\u201d Marling sounds more like Ladies of the Canyon<\/em>\u2013era Joni than any artist I can think of, and that\u2019s a really good thing. The songs are subtle and airy, full of soaring and plummeting melodies, and motored by delicious, clever percussion that takes up quiet residence in one\u2019s hips, especially the danceable \u201cStrange Girl.\u201d The title track is a wary and hopeful ballad that will make any parent of a daughter\u2014as well as any daughter\u2014feel less alone. In this era of info flooding in through multiple inputs at once at all times, I\u2019m grateful that people are still writing songs like this. \u2014Craig Morgan Teicher<\/strong><\/p>\n

Natalia Ginzburg\u2019s newly translated set of novellas, Valentino<\/em> and Sagittarius<\/em><\/a>, grapples with the struggles of having a difficult family and what loving them looks like in spite of their rudeness, idleness, or judgmental disposition. Imperfect marriages, bouts of fury, and superficiality never take away from the essential tenderheartedness of Ginzburg\u2019s characters. In arguing for the necessary coexistence of our deepest humanity and our deepest flaws, these novellas gave me a renewed appreciation for those loved ones who are stuck with me throughout this pandemic. \u2014Carlos Zayas-Pons<\/strong><\/p>\n

Most evenings around ten, when the work (or at least that day\u2019s allotment of it) is done and the supper dishes are clean, I give myself an hour of free reading. It\u2019s a category that might\u2019ve previously been called pleasure reading, but given that this week I\u2019ve been toggling between dystopias (Diane Cook\u2019s disturbing, compelling The New Wilderness<\/em> and the New York Times<\/em>\u2019s coronavirus coverage), the emotion is not quite delight. However, I have been pleased to recently encounter several intersections of bummer news and bright art. The Chronicles of Now<\/a> may have been conceived before the news cycle became the raging dumpster fire we call 2020, but its model\u2014short stories inspired by the news\u2014is perhaps better suited than a CNN pundit is to helping us sort through this year. Meanwhile, the writer Etgar Keret and the choreographer Inbal Pinto have taken the cable news talking head and made it new: the dance between the isolated broadcaster and the equally lonely (and commendably loose-limbed) protagonist of the short film Outside<\/a><\/em>\u00a0is a canny response to the emotional landscape wrought by quarantine. And just in case we thought we were being novel in making art from news, I was glad to be reminded that F\u00e9lix F\u00e9n\u00e9on was doing this 114 years ago in the Paris daily Le Matin<\/em>: his collected Novels in Three Lines<\/em><\/a> (translated and introduced by Luc Sante) demonstrates the artful possibility of the news with the economy of a haiku. Things might be bleak out there, but sometimes, they can also be beautiful. \u2014Emily Nemens<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

F\u00e9lix F\u00e9n\u00e9on. Photo: Alphonse Bertillon. Public domain, via the collection of the Metropolitan Museum of Art.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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