{"id":150362,"date":"2021-01-15T16:09:10","date_gmt":"2021-01-15T21:09:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=150362"},"modified":"2021-01-15T19:12:18","modified_gmt":"2021-01-16T00:12:18","slug":"staff-picks-heaven-hearing-trumpets-and-hong-sang-soo","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/01\/15\/staff-picks-heaven-hearing-trumpets-and-hong-sang-soo\/","title":{"rendered":"Staff Picks: Heaven, Hearing Trumpets, and Hong Sang-soo"},"content":{"rendered":"
\"\"<\/a>

Still from Hong Sang-soo\u2019s Woman Is the Future of Man<\/em>. \u00a9 Arrow Films. Photo courtesy of MUBI<\/small>.<\/p><\/div>\n

I\u2019m a big fan of the films of Hong Sang-soo, and something about them\u2014their long, lingering scenes in bars, the conversations that trip over art and love and the differences between the sexes\u2014feels particularly right for this moment when many of us are stuck indoors. Luckily, MUBI<\/small> is running a series dedicated to his work<\/a>, including 2014\u2019s Hill of Freedom<\/em><\/a> (a personal favorite, which follows a Japanese man as he wanders through Seoul trying to find a lost love, but is really about the unreliability of narrative) and\u00a02004\u2019s Woman Is the Future of Man<\/em><\/a> (which I had never seen before), his first film to open theatrically in the U.S. Hong\u2019s films are deceptively simple, seemingly a series of variations on a basic theme\u2014romantic drama, alcohol, unreliable narrators\u2014but there are always a few formal twists, a playful approach to the concept of linear time, to keep the viewer on their toes. \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

Hello! It\u2019s good to see you again. But why are you reading staff picks when you could be watching the all-star panel<\/a> Community Bookstore organized to celebrate the NYRB Classics reissue of Leonora Carrington\u2019s The Hearing Trumpet<\/em>? By no means do I intend this as a knock against staff picks; as usual, my colleagues have delivered excellent recommendations, and I encourage you to read (and act upon) each and every one of them. But with a lineup like this\u2014Chloe Aridjis, Kathryn Davis, Danielle Dutton, and Merve Emre, all brought together by the globe-flattening power of Zoom\u2014perhaps you\u2019ll understand the urgency of my question. I\u2019d greatly appreciate if you considered, at the very least, opening the discussion in another tab of the internet browser of your choice; this can be done at no cost to you beyond the paltry fraction of a calorie burned in the action of a click. \u2014Brian Ransom<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Eimear McBride. Photo: \u00a9 Jemma Mickleburgh.<\/p><\/div>\n

 <\/p>\n

Long ago, I picked up Eimear McBride\u2019s A Girl Is a Half-Formed Thing<\/a><\/em> based on the title alone and got only a few pages in before setting it down. I was in those preteen years when you suddenly start thinking of yourself as a capable, mature adult and are always desperate to prove it\u2014or maybe that was just me, using words I half-understood, reading experimental literature. Despite my trying, the prose remained elusive. I had overestimated myself as a reader, I realized, and could not parse the dense stream-of-consciousness narrative enough to make sense of it. Recently, though, inspired<\/a> by the dynamism of Sarah Crossan\u2019s experimental novel Here Is the Beehive<\/em> (and emboldened by my grasp of it), I found A Girl Is a Half-Formed Thing<\/em> on my shelf and made a new attempt. Eschewing the familiar rules of punctuation, grammar, and sentence structure, McBride doesn\u2019t make the reading easy, but without the constraints of convention, such gorgeous syntax is allowed to emerge, which makes the perplexity more than worth it. Phrase after phrase both challenged and enamored me, an intricate negotiation I was not ready for all those years ago. Structurelessness and Joycean experimentation aside, I\u2019m not surprised I couldn\u2019t decipher McBride\u2019s novel when I was younger. After all, it\u2019s a coming-of-age story, and what did I know of that back then? \u2014Langa Chinyoka<\/strong><\/p>\n

In the 2019 short film Men of Vision<\/em><\/a>, a failing veteran inventor and a quietly brilliant new inventor cross paths thanks to a shared mentor. This period piece has plenty of jokes about inventions relating to the shortsightedness of human beings and our inability to anticipate the future. As a child, I would dream up contraptions and mechanisms with little use or value outside my own little world, but I never took any steps to actualize them. Dreaming about possibility is natural, I suppose. But Men of Vision<\/em> warns about the narcissistic hunger born out of egotism and possibility. Instead of majestic flying trains, our fixations may lead us to magnetic candles. \u2014Carlos Zayas-Pons<\/strong><\/p>\n

I wonder if there\u2019s something about Texas that makes memoirists of its writers. Emerson Whitney\u2019s Heaven<\/em><\/a> begins in \u201cOld Texas like in the movies \u2026 where dip tins make circles in everybody\u2019s back pocket.\u201d Thematic comparisons could be made to the work of Mary Karr, but Whitney stands as a deft executor of their own unique style. Like a patchwork quilt, Whitney sews memories tightly together with Maggie Nelson, the DSM, and etymology. But for being so learned, the book is never didactic, and for being peripatetic (we do leave Texas), it feels solid, is emotionally even-keeled even across the stormiest subjects. Whitney is a writer who guides with an intuitive vulnerability and honesty, and at its core, Heaven<\/em> is an examination of the body as an inherited thing.\u00a0\u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Emerson Whitney. Photo courtesy of Nectar Literary.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 cozies up with some Hong Sang-soo films, revisits a previously inscrutable novel, and reads Emerson Whitney.<\/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":[67827],"class_list":["post-150362","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nStaff Picks: Heaven, Hearing Trumpets, and Hong Sang-soo by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 cozies up with some Hong Sang-soo films, revisits a previously inscrutable novel, and reads Emerson Whitney.\" \/>\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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