{"id":153332,"date":"2021-07-02T14:48:08","date_gmt":"2021-07-02T18:48:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153332"},"modified":"2021-07-02T16:06:08","modified_gmt":"2021-07-02T20:06:08","slug":"staff-picks-cornets-collections-and-corn-tempura","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/07\/02\/staff-picks-cornets-collections-and-corn-tempura\/","title":{"rendered":"Staff Picks: Cornets, Collections, and Corn Tempura"},"content":{"rendered":"
\"\"<\/a>

James Brandon Lewis. Photo: Diane Allford.<\/p><\/div>\n

James Brandon Lewis has quietly become a legend in edgy jazz circles over the past decade, picking up where Albert Ayler and David S. Ware left off under the sign of John Coltrane and adding his own highly lyrical sense of song into the mix. I hadn\u2019t known about him, but the recent buzz (including this New York Times<\/em> profile<\/a>) tipped me off, and I\u2019m deeply grateful. Lewis\u2019s compositions and solos always feel like they are about<\/em> something, even if that something is veiled or just beyond the reach of words. Lewis\u2019s amazing new record, Jesup Wagon<\/em><\/a>\u2014his first with his Red Lily Quintet\u2014takes inspiration from the work and life of the Renaissance man George Washington Carver. The music is alternately beautiful and jarring, anxious and clear-eyed. I especially enjoy the musical conversation between Lewis and the cornet player Kirk Knuffke. And I\u2019m absolutely in love with the drumming of Chad Taylor, whose sound is paradoxically anxious and steady. William Parker on bass and Chris Hoffman on cello hold down the low end and add plenty of flourishes and surprises. This is a not-unfriendly way into the challenging fringe of the jazz universe, and after a few listens, Jesup Wagon<\/em> becomes a good friend indeed, a record equally suited to headbanging and meditation. \u2014Craig Morgan Teicher\u00a0<\/strong><\/p>\n

The poems found in Moon Bo Young\u2019s collection Pillar of Books<\/em><\/a>, translated from the Korean by Hedgie Choi and published by Black Ocean, are strange and discursive, off-kilter in both their humor and their phrasing. \u201cMy lover forgot their brain when they left,\u201d begins \u201cBrain and Me.\u201d \u201cI could blend it and drink it, I guess.\u201d Meanwhile, in \u201c__________*,\u201d the narrator has a relationship with Kafka\u2019s The Trial<\/em> that goes far beyond the usual readerly obsession: \u201cIn Kafka\u2019s The Trial<\/em> there\u2019s actually a sentence that goes \u2018__________*\u2019 The only person who\u2019s seen that sentence is me.\u201d Multiple poems feature the characters of Antoine, Gemelle, and Strains, three young poets who move through life in a series of danger-tinged pratfalls (a few lines from \u201cCollaboration Poem,\u201d where the trio first appears: \u201cThis is how art forms change<\/em>,\u2009\/\u2009says the poet at the podium,\u2009\/\u2009The readers and the poet go bananas and\u2009\/\u2009they become banana-rich\u201d). \u201cMoon Bo Young is both super-funny and super-serious,\u201d Choi explains in her translator\u2019s note. \u201cThere\u2019s levity and surrealism, but there\u2019s also God and Death.\u201d Pillar of Books<\/em> is a collection that wields both modes effectively, frequently employing them in the space of a poem, a stanza, a line. \u2014Rhian Sasseen<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Brandon Taylor. Photo: Bill Adams.<\/p><\/div>\n

 <\/p>\n

It is an anomaly, I think, that the entirety of a story collection be a page-turner, but I count Brandon Taylor\u2019s Filthy Animals<\/em><\/a> among those rare gems that accomplish such a feat. Taylor\u2019s new book kept me reading not just within but between stories as I eagerly devoured one and jumped right into the next. The collection is described as a \u201cportrait of young adults enmeshed in desire and violence,\u201d and this\u2014the knife\u2019s edge between desire and violence, their sometimes (or perhaps frequent) interplay\u2014makes for an incredibly compelling through-line cutting down the center of the book. Three characters in particular weave in and out of the collection: a graduate student named Lionel, who\u2019s on medical leave, and a romantic couple, the dancers Sophie and Charles. After he sleeps with Charles, Lionel finds himself a pawn in a strange power game between the couple; while Lionel and Charles are physically intimate, it is Sophie\u2019s role in the game, all manipulation and control and a sort of social sadism, that makes for some of the most taut and compelling moments in the book. These stories depict the various harms that can accompany intimacy, but they also paint a beautiful portrait of people seeking genuine connection, whether it be with lovers, friends, or family members. Rarely is a collection so tonally cohesive across the board. All in all, Filthy Animals<\/em>\u00a0is fantastic\u2014unsettling in a very human way, fully realized, and a major success. \u2014Mira Braneck<\/strong><\/p>\n

If you haven\u2019t read J. Robert Lennon, head on over to the Review<\/em>\u2019s archive and check out his work in the Spring 2010 issue<\/a>. Really, follow that link. It\u2019s worth the detour. If you\u2019re jumping back in after reading \u201cThe Impossible Man,\u201d you\u2019ll know how a seemingly understandable situation can, in Lennon\u2019s hands, spiral into a scenario of nightmarish complexity. The stories\u2014mostly what we might call flash fictions\u2014in his latest collection, Let Me Think<\/em><\/a>, operate on similar premises. Appearing as flippant or even absurdist dialogues between a married couple, the \u201cMarriage\u201d stories are particularly deceptive in their simplicity, serving as thematic waypoints throughout the book and illustrating how two people may share everything from their home to their native tongue yet still struggle to express the simplest of life\u2019s truths to each other: \u201cThen our marriage is a lie, she says. No, he says. Our marriage is a mystery.\u201d Many of these pieces are about the difficulties of communication, as suggested by the title and the clever cover art\u2014seventy-one numbered points, which, after the stories in this collection, have been carefully placed in service of a cohesive vision. I\u2019m sure you\u2019ll want to connect the dots for yourself. That is, after all, the name of the game. \u2014Christopher Notarnicola<\/strong><\/p>\n

Hirokazu Kore-eda\u2019s film Still Walking<\/em><\/a> takes place in a home of captivating and understated elegance. It belongs to the mother and father of Ryoto, a brooding art restorer who has brought his new wife and stepson for a summer weekend visit. His sister teases him in the kitchen over the sizzle and pop of frying corn tempura, and the rhythms of the film flow around meals taken in a dining room that opens out to a lush back garden. As Still Walking<\/em> progresses, it becomes harder and harder to comprehend the layout of the house: new scenes reveal rooms and halls that seem disjointed. In the same way, a story that begins as a simple portrait of a family slowly reveals the intricate relationships between characters, and how a past tragedy has left an open wound in each. But Kore-eda\u2019s eye is for small details, and his ear is for humor, crafting all of this with a lightness that counterintuitively lends the movie its gravitas. \u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Still from Hirokazu Kore-eda\u2019s Still Walking<\/em>, 2008. Courtesy of the Criterion Collection.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

The staff of \u2018The Paris Review\u2019 befriends James Brandon Lewis\u2019s new record, devours Brandon Taylor\u2019s latest, and enjoys Hirokazu Kore-eda\u2019s \u2019Still Walking.\u2019<\/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-153332","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nStaff Picks: Cornets, Collections, and Corn Tempura by The Paris Review<\/title>\n<meta name=\"description\" content=\"The staff of \u2018The Paris Review\u2019 befriends James Brandon Lewis\u2019s new record, devours Brandon Taylor\u2019s latest, and enjoys Hirokazu Kore-eda\u2019s \u2019Still Walking.\u2019\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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