{"id":152851,"date":"2021-06-04T17:44:31","date_gmt":"2021-06-04T21:44:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=152851"},"modified":"2021-06-04T18:06:37","modified_gmt":"2021-06-04T22:06:37","slug":"staff-picks-exes-hexes-and-excellence","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/06\/04\/staff-picks-exes-hexes-and-excellence\/","title":{"rendered":"Staff Picks: Exes, Hexes, and Excellence"},"content":{"rendered":"
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Joss Lake. Photo: J. Aharonov.<\/p><\/div>\n

Part sci-fi, part fantasy, part trans Brooklynite millennial saga, Future Feeling<\/em><\/a> revels in its own chaos. Joss Lake\u2019s debut novel kicks off when Pen, a trans man who works as a dog walker, enlists his roommates, the Witch and the Stoner-Hacker, to place a hex on Aiden, a trans influencer whom Pen resents. Rather than falling on its intended target, the hex sends Blithe, an adopted Chinese trans man raised by white parents, to the Shadowlands, a dark landscape one goes to when they have \u201ccompletely lost their shit.\u201d The Rhiz, a highly elite underground queer organization, enlists Pen and Aiden to bring Blithe back from the Shadowlands, where he\u2019s struggling emotionally with his transracial upbringing and gender transition. Am I doing the plot justice? Not really\u2014I told you this book revels in its own chaos, and chaos and coherent narrative summary don\u2019t tend to mix. But I love how Future Feeling<\/em> lingers in the mayhem. More than linger, Lake embraces it, forgoing the neat narrative of before and after in favor of the messiness of process and becoming. Plus, this book is fun<\/em>: hexes, moonlit rituals, a pet plant named Alice the Aloe, and well-placed critiques of gender, capitalism, and the alienating nature of advanced technology all abound. I\u2019m still not sure how to classify Future Feeling<\/em>\u2014but defying neat categorization is kind of the point.\u00a0\u2014Mira Braneck\u00a0<\/strong><\/p>\n

There are doubtless as many ways to write about motherhood as there are writers on the subject. Iman Mersal, whose crisp<\/a>, incisive<\/a> prose poems<\/a> have appeared in this magazine, offers a loose and intimate instruction manual in How to Mend: Motherhood and Its Ghosts<\/em><\/a>, translated from the Arabic by Robin Moger. A contribution to Kayfa ta<\/a>, a series of how-to books, this pocket-size text is without agenda, reporting the thoughts passing in and out of a woman working through what an identity as mother looks like by studying photographs, keeping diary entries, footnoting staid academic essays, and composing verse. \u2014Lauren Kane<\/strong><\/p>\n

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Still from Alien on Stage<\/em>, 2020, directed by Danielle Kummer and Lucy Harvey.<\/p><\/div>\n

 <\/p>\n

I have a special appreciation for amateurs. While attempting to woo my now fianc\u00e9e, I signed us up for Swede Fest\u2014a film festival for low-budget re-creations of popular movies, after the film Be Kind Rewind<\/em>. We put together a cringe-worthy low-budget remake of Jurassic Park<\/em><\/a> and fell in love in the process. Now, when a work of art feels amateurish, we say it has swede energy, which is another way of saying we can feel the love that went into it. The documentary Alien on Stage<\/em><\/a> has major swede energy. The film follows a crew of English bus drivers who ditch their annual pantomime traditions to put together a stage adaptation of Ridley Scott\u2019s 1979 sci-fi horror classic, Alien<\/em>. The homegrown ambition, feats of low-budget engineering, and genuine passion that went into this creative undertaking are wholly inspirational, and the resulting camaraderie\u2014onstage, backstage, in the crowd, and behind the camera\u2014is so kinetic that you might just be moved to join the crew. Last year, my fianc\u00e9e and I made our own low-budget Alien<\/em> remake<\/a>, so I\u2019m admittedly biased when I tell you this is the best documentary you\u2019ll see all year, but it has to be the best film made by and about amateurs. The word amateur<\/em> is often used to mean nonprofessional, but it\u2019s rooted in the Latin for \u201clove.\u201d In this sense, Alien on Stage<\/em> is every bit the work of amateurs. Feel the swede energy and show them some love\u2014streaming until June 20 with the San Francisco Documentary Film Festival<\/a>.\u00a0\u2014Christopher Notarnicola<\/strong><\/p>\n

Chet\u2019la Sebree\u2019s Field Study<\/em><\/a> is a book in fragments, \u201can investigation,\u201d she writes, \u201cof the effects of the world on one woman\u2019s desire and identity formation.\u201d In a series of meditations drawing from her own relationship history as well as tweets, observations, and quotes from literary and pop culture figures including Audre Lorde, Lupita Nyong\u2019o, Tressie McMillan Cottom, Maggie Nelson, and others, Sebree analyzes desire, interracial relationships, and what it means to be a Black woman in the contemporary U.S. \u201cAm I a tourist to my own existence?\u201d she wonders as she grapples with the lines between history and the present day, fiction and reality. How should the artist approach rendering her own life in a work of art? \u201cIn the failing light of summer, forgive me,\u201d Sebree writes poignantly toward the end, addressing her unnamed former lovers. \u201cI\u2019ve cannibalized you.\u201d \u2014Rhian Sasseen<\/strong><\/p>\n

This week, Naomi Osaka was in the news for a series of reasons no one can quite agree on. It is safe to say she is one of the most talented athletes alive today; that she knows it seems to have become a problem. Those on earth who are more talented, more driven, and more self-defined than the rest of us are often given a confusing welcome. The memoir Dear Senthuran<\/em><\/a>, Akwaeke Emezi\u2019s fourth book in as many years, is, among other things, a chronicle of the kind of ambivalence with which most of us react to the extraordinary. Structurally, it is a thing of great beauty. Each chapter is a letter. Some recipients reappear; some don\u2019t. The letters form a mesmerizing, page-turning account of Emezi\u2019s feelings about going from being a relatively unknown M.F.A. student to a celebrated writer\u2014as of this week, they appeared on the cover of Time<\/em> magazine, and they signed a seven-figure deal with Amazon Studios earlier this spring. Their identity as an embodied nonhuman entity\/an ogbanje\/a deity\u2019s child interrupts certain social expectations, but Emezi\u2019s talent interrupts them all. Emezi writes magnetically about encountering rejection from their M.F.A. cohort upon announcing that they had landed an agent and a book deal (\u201cthe awkwardness \u2026 their lack of excitement for me even though this was the thing we are all here for, all supposed to be helping each other toward\u201d) and about their family\u2019s desire to hear that while \u201cbig things were happening around me, flashy and powerful, the kind of things that make other people happy \u2026 that I wanted them there, that I wasn\u2019t leaving them behind, that I was still available, I was still accessible.\u201d There are a lot of stories in this memoir\u2014it is also a book about suicide, love, and houses\u2014but this week I am considering how Dear Senthuran<\/em> is about powerful excellence, especially the excellence that appears in bodies that aren\u2019t white and aren\u2019t male. Emezi is changing the world and our reaction to this kind of power. They know there are others who have it\u2014\u201cpeople can do such spectacular things if you forget to tell them it\u2019s impossible\u201d\u2014and maybe the world is almost ready. \u2014Julia Berick<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Akwaeke Emezi. Photo: \u00a9 Kathleen Bomani.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 revels in the chaos of Joss Lake\u2019s \u2018Future Feeling,\u2019 praises Akwaeke Emezi\u2019s latest, and considers the amateur.<\/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-152851","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nStaff Picks: Exes, Hexes, and Excellence by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 revels in the chaos of Joss Lake\u2019s \u2018Future Feeling,\u2019 praises Akwaeke Emezi\u2019s latest, and considers the amateur.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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