{"id":148114,"date":"2020-10-09T14:35:50","date_gmt":"2020-10-09T18:35:50","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=148114"},"modified":"2020-10-09T15:16:09","modified_gmt":"2020-10-09T19:16:09","slug":"staff-picks-memorials-maps-and-machines","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/","title":{"rendered":"Staff Picks: Memorials, Maps, and Machines"},"content":{"rendered":"
\"\"<\/a>

Bryan Washington. Photo: \u00a9 Dailey Hubbard.<\/p><\/div>\n

There are many ways to cross this country. What my gentleman and I did the first summer of our romance, the September after we graduated, was take three weeks to drive along the northern United States in a sedan with four CDs, little money of our own, and no air-conditioning. By the time we drove down out of the Berkeley Hills, I wondered if he still liked me, much less loved me. The matter of what keeps people together, what makes two people a couple, is one of the central questions of Bryan Washington\u2019s extraordinary new book Memorial<\/em><\/a>, and no one writing today can make an unanswered question as satisfying, as delightful, as moving, or as vibrant. Memorial <\/em>has the kind of premise for which generations of M.F.A. students would offer lesser-used digits: a young man wakes one morning to the reality of living in a Houston one-bedroom alone with a stranger\u2014his boyfriend\u2019s mother. Things aren\u2019t going great with the boyfriend, who has just flown to Japan, where his estranged father is dying. Washington writes with ease, like a juggler who is adding in new objects all the time, except the book ends with everything aloft instead of in hand. In contemporary fiction, there seems to be an idea that only brutality is sophisticated and only evil is art, but basically all of Washington\u2019s characters are capable of goodness and love. In 2020, that is one hell of a twist. I finished Memorial<\/em> with a shout after several late-night sessions and handed it immediately to my man, who, it turns out, does still like me. It can be difficult to share your life with someone; Washington somehow explains this anew. Memorial<\/em>, on the other hand, is easy to share. \u2014Julia Berick\u00a0<\/strong><\/p>\n

Finally, finally, I got my hands on Danez Smith\u2019s most recent collection of poetry, Homie<\/em><\/a>. Flipping through its pages to see if I recognized any of the titles, I found, for the first time in print, the poem \u201cdogs!,\u201d which I had first seen performed on YouTube<\/a> at the height of my Button Poetry obsession in 2016. In it, one of my favorite lines of poetry: \u201ci wanted to be the boy who\u2009\/\u2009turned into the bird limp in the\u2009\/\u2009dog\u2019s wet mouth, holding me\u2009\/\u2009toward his human saying I made<\/em>\u2009\/\u2009\u2028this for you<\/em>.\u201d The whole book can be found in this sentiment: an offering. So much of Danez\u2019s poetry is consumed with the glorious act of giving oneself\u2014to a friend, to a lover, to the self. Often, this act is rapturous and self-destructive, but other times it is gentler, subtler. The poems, then, are tributes. The title, Homie <\/em>(and its subtitle, which is a nod to the Black camaraderie that is the book\u2019s specific focus), gives the bottom line away. Even in a fistfight\u2014as in the poem \u201cjumped!,\u201d which is about punching and being punched\u2014or while laughing at one\u2019s own creative cruelty\u2014as in \u201chow many of us have them?,\u201d which invents its own form inspired by the dozens, the roasting and ribbing among the closest friends\u2014there is always love. Not to give too much away, but I have sent and been sent verses from the collection\u2019s final poem, \u201cacknowledgements,\u201d many times over: \u201c& how many times have you loved me without my asking?\u2009\/\u2009how often have i loved a thing because you loved it?\u2009\/\u2009including me,\u201d it ends, \u201c\u2009\u2026 with yo ugly ass.\u201d \u2014Langa Chinyoka<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Theresa Hak Kyung Cha. Courtesy of University of California Press.<\/p><\/div>\n

 <\/p>\n

\u201cDictee<\/em>, by Theresa Hak Kyung Cha\u201d was Alexandra Kleeman\u2019s response to the question \u201cWhat book changed your life?\u201d in an interview<\/a> with the Financial Times<\/em> in 2017. \u201cI had no idea a book could make me feel like I was learning English for the first time.\u201d I admire Kleeman\u2019s concision here and have found it difficult to illustrate in a few hundred words just how precise her statement is. First published in 1982, Dictee<\/em><\/a> is partly a memoir of the erasure of language and culture by colonizers\u2014whether that be Japan\u2019s colonization of Korea or the way in which America domestically colonizes the communities it absorbs\u2014but it is also a semiabstract collage of photos, diagrams, maps, and poetry. Whole sections are introduced as if a test at school: \u201cTraduire en francais,\u201d one section starts, and then is followed by a list of seemingly unrelated vignettes. Here is number six: \u201cThe sea was calm, we did not feel the slightest of motion. We made a stop of an hour at Calais, where we had luncheon. It was rather dear but well served.\u201d Elsewhere, punctuation is rendered in words: \u201cperiod,\u201d \u201copen quotation marks,\u201d \u201ccomma.\u201d Like the repeating of a word until its sound becomes meaningless, these techniques estrange readers from the text so that passages of linear, more socio-realistic narrative almost feel like a welcoming back into the fold. Cha\u2019s family came to the U.S. when she was eleven, and though Korean was the language at home, she became as proficient in English as she was in her first language. (She was fluent in French as well.) Making a trip to Korea after eighteen years in America, Cha reflects on a violent memory, regarding her brother\u2019s desire to attend a political protest, from the time before the family emigrated. Cha observes: \u201cI speak another tongue, a second tongue. This is how distant I am. From then.\u201d For anglophone readers, Cha induces that same distancing even while reading in one\u2019s own naturalized language. Too often, of course, the colonizing function of language goes about its invisible work without comment, but in Dictee<\/em> each scene, each image, each poem or letter purposefully refers us back to it. It\u2019s a disquieting effect, and an altogether remarkable one. \u2014Robin Jones<\/strong><\/p>\n

As a result of my staff pick from two weeks ago<\/a> on the video game Hades<\/em>, I\u2019ve been devouring as much as I possibly can about its developer, Supergiant Games. This has necessarily brought me to the YouTube channel for Noclip, which produces high-quality documentaries on various facets of the video game industry. Not only does Noclip have a series devoted to each of Supergiant\u2019s previous games (Bastion<\/em><\/a>, Transistor<\/em><\/a>, and Pyre<\/em><\/a>), they have had a longer ongoing project following the production of Hades<\/em><\/a>. As I eagerly await the final installment of that series, I\u2019ve simply been ruminating on how much care goes into these games as well as these documentaries. The depiction of an intimate workplace environment, the dynamic ways in which new ideas spring up, the joy of creating something that ends up being someone\u2019s favorite thing\u2014all of these factors breathe such life into Noclip\u2019s work that I find myself dreaming about the endless potential we humans have through creation in literature, music, visual art, and games. Noclip\u2019s most recent video<\/a>, regarding the Museum of Art and Digital Entertainment\u2014or MADE<\/small>\u2014in Oakland, brings this potential into the full view of history while at the same time reminding us what is at stake when we abandon our understanding of the past. Ever insightful and profoundly humanistic, Noclip\u2019s work is crafted so that video game fans such as myself can relish in all the industry jargon while people who know nothing about that world can be brought into its richness. \u2014Carlos Zayas-Pons<\/strong><\/p>\n

The first time I heard the Irish singer R\u00f3is\u00edn Murphy, it was 2005, I was fifteen years old, and her debut solo album, Ruby Blue<\/em>, had just been released. I was an obsessive reader of Pitchfork<\/em> back in those days, and their review (an 8.4!) intrigued me enough that I immediately ordered the CD off of Insound. I loved it\u2014the cabaret cool of \u201cNight of the Dancing Flame,\u201d the stylish \u201cDear Diary,\u201d the glam-rock howl that begins \u201cRuby Blue.\u201d Later on, when Lady Gaga became a thing, I was always quick to point out that she had completely ripped off R\u00f3is\u00edn with her look<\/a>. Flash forward to February 2020. One of my last nights out before quarantine began was a R\u00f3is\u00edn (and Bj\u00f6rk and Robyn) dance night held at a bar near my apartment; it was sheer perfection. I\u2019m thinking of that night often now that her new album, R\u00f3is\u00edn Machine<\/em><\/a>, is out, and while I\u2019m making due with the makeshift club my roommate and I have turned our living room into, I dearly wish I could be in a room full of strangers dancing to this album. Songs like \u201cShellfish Mademoiselle<\/a>,\u201d with its glitchy beat and lyrics sung in a coo (\u201cHow dare you sentence me to a lifetime without dancing\u201d), and \u201cNarcissus<\/a>,\u201d which turns the myth of Narcissus into glittery disco, really should be experienced alongside other people. Some emotions can be felt only on the dance floor\u2014certain unexpected intimacies, surprising moments of communal ecstasy. R\u00f3is\u00edn Murphy makes music for these moments, and their meaning deepens with each listen. As she announces first on the opening track, \u201cSimulation<\/a>,\u201d and then later on, in \u201cMurphy\u2019s Law<\/a>\u201d: \u201cI feel my story is still untold \u2026 but I\u2019ll make my own happy ending.\u201d It\u2019s a sentiment that, like her music, bears repeating. \u2014Rhian Sasseen<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

R\u00f3is\u00edn Murphy. Photo: Adrian Samson. Courtesy of Melt! Booking.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.<\/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-148114","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Memorials, Maps, and Machines by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.\" \/>\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\/10\/09\/staff-picks-memorials-maps-and-machines\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Memorials, Maps, and Machines by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"October 9, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\" \/>\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=\"2020-10-09T18:35:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-09T19:16:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"750\" \/>\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\/10\/09\/staff-picks-memorials-maps-and-machines\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Memorials, Maps, and Machines\",\"datePublished\":\"2020-10-09T18:35:50+00:00\",\"dateModified\":\"2020-10-09T19:16:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\"},\"wordCount\":1596,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg\",\"articleSection\":[\"This Week\u2019s Reading\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\",\"name\":\"Staff Picks: Memorials, Maps, and Machines by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg\",\"datePublished\":\"2020-10-09T18:35:50+00:00\",\"dateModified\":\"2020-10-09T19:16:09+00:00\",\"description\":\"This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Staff Picks: Memorials, Maps, and Machines\"}]},{\"@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: Memorials, Maps, and Machines by The Paris Review","description":"This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.","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\/10\/09\/staff-picks-memorials-maps-and-machines\/","og_locale":"en_US","og_type":"article","og_title":"Staff Picks: Memorials, Maps, and Machines by The Paris Review","og_description":"October 9, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.","og_url":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2020-10-09T18:35:50+00:00","article_modified_time":"2020-10-09T19:16:09+00:00","og_image":[{"width":1000,"height":750,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.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\/10\/09\/staff-picks-memorials-maps-and-machines\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Staff Picks: Memorials, Maps, and Machines","datePublished":"2020-10-09T18:35:50+00:00","dateModified":"2020-10-09T19:16:09+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/"},"wordCount":1596,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg","articleSection":["This Week\u2019s Reading"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/","url":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/","name":"Staff Picks: Memorials, Maps, and Machines by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg","datePublished":"2020-10-09T18:35:50+00:00","dateModified":"2020-10-09T19:16:09+00:00","description":"This week, the staff of \u2018The Paris Review\u2019 stays up late to read, unlearns English, and dances to R\u00f3is\u00edn Murphy in the living room.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/10\/bryan-washington-c-dailey-hubbard.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/10\/09\/staff-picks-memorials-maps-and-machines\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Staff Picks: Memorials, Maps, and Machines"}]},{"@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\/148114","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=148114"}],"version-history":[{"count":21,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/148114\/revisions"}],"predecessor-version":[{"id":148328,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/148114\/revisions\/148328"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=148114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=148114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=148114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}