{"id":153488,"date":"2021-07-09T17:01:04","date_gmt":"2021-07-09T21:01:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153488"},"modified":"2021-07-09T17:35:27","modified_gmt":"2021-07-09T21:35:27","slug":"staff-picks-traps-tall-tales-and-table-saws","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/07\/09\/staff-picks-traps-tall-tales-and-table-saws\/","title":{"rendered":"Staff Picks: Traps, Tall Tales, and Table Saws"},"content":{"rendered":"
\"\"<\/a>

C\u00e9sar Aira. Photo: Nina Subin. Courtesy of New Directions.<\/p><\/div>\n

C\u00e9sar Aira\u2019s latest book to appear in English, The Divorce<\/em><\/a> (translated from the Spanish by Chris Andrews), brings to mind an older approach to fiction\u2014that of pure fabular storytelling, unencumbered by character development or realism. The plot is essentially nonexistent: a freshly divorced academic travels from Providence, Rhode Island, to Buenos Aires in order to distract himself from his emotions, and spends a day sitting outside a caf\u00e9 around the corner from his guesthouse. While sitting there and chatting with a video artist named Leticia, he encounters Enrique, the guesthouse owner, who is holding a bicycle and appears to be freshly soaked from a large amount of water that has just been splashed upon him. Multiple stories quickly emerge: a surreal childhood encounter between Enrique and Leticia, the impoverished background of an acquaintance of Enrique\u2019s named Jusepe, the strange life of Enrique\u2019s mother (including the time she narrowly survived a mob killing), and the mysterious origins of the love of Enrique\u2019s life, who is connected to the water with which the narrator finds Enrique soaked. These are tall tales in the most pleasurable sense of the term, looping and linking around one another as though to echo the strange circularities and synchronicities that so often repeat themselves in the course of a human life. \u201cAnd with one hand,\u201d writes Aira of Enrique, \u201che went on holding the delicate machine at his side: that \u2018little steel fairy,\u2019 the bicycle, from whose spinning stories are born.\u201d \u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

There\u2019s a scene in L.\u2009M. Montgomery\u2019s Anne of Green Gables<\/em> where Anne and her best friend, Diana, have a proper tea party. They wear fancy dresses and inquire after each other\u2019s family, there are lots of please<\/em>s and may-I<\/em>\u2019s, and then they get absolutely wasted off of raspberry cordial. I\u2019ve always cherished descriptions of food in literature, and as a child I wanted to taste that delicious, illicit cordial more than anything. A few weeks ago, I picked up a bottle of Current Cassis<\/a>, a black currant liqueur made in the Hudson Valley. I was drawn to the Matisse-esque logo, and I\u2019ve long loved the taste of currants. I poured it over some ice, and immediately I was in Avonlea\u2014it was the cordial. Syrupy and tangy, Current Cassis tastes like a special occasion. I\u2019ve enjoyed it in a Kir Royale and used it to replace vermouth in Negronis. There was only one small problem: the girls in\u00a0Anne of Green Gables<\/em>\u00a0drank raspberry<\/em> cordial. I pulled out my old copy of the book and returned to the scene that had burrowed itself into my taste buds: \u201cAnne, you certainly have a genius for getting into trouble. You went and gave Diana currant wine instead of raspberry cordial.\u201d It was currants the whole time. \u2014Eleonore Condo<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Anna Webber. Photo: TJ Huff.<\/p><\/div>\n

 <\/p>\n

Anna Webber has been a jazz artist to watch for more than a decade. She uses complicated, often inscrutable schemes to produce aggressive, emotional, and intellectually stimulating music in which improvisation and composition duel in all sorts of surprising ways. She\u2019s achieved a new level of artistic maturity on her past few records (2020\u2019s Both Are True<\/em><\/a>, recorded with the big band she coleads with Angela Morris, is particularly stunning), and Idiom<\/em><\/a>, a new double-disc set, offers a deep dive into her musical world. The first disc features Webber\u2019s long-standing trio with the pianist Matt Mitchell and the drummer John Hollenbeck. When he\u2019s not closely tracking Webber\u2019s intricate melodies and rhythms, Mitchell plays like a table saw (I mean this in the best way), shooting sparks in every direction. And nowhere else can you hear the brilliant and otherwise gentle Hollenbeck prodding and pounding\u2014though he is no less precise here than in his own, more mainstream music or in his work with Meredith Monk. The second disc records a new thirteen-piece ensemble, though don\u2019t expect much swing\u2014this music is hyper, uneasy, and amorphous, punctuated by patches of silence and sudden bursts of noise. The musicians are searching their instruments for not just notes but sounds, and I often feel like I\u2019m exploring some dark place while holding a flashlight with dying batteries\u2014it\u2019s exciting and a bit scary. \u2014Craig Morgan Teicher<\/strong><\/p>\n

The internet is a fount of testaments to the enormity and sheer multifariousness of human achievement. This week, for instance, a fourteen-year-old named Zaila Avant-garde became the first Black American to win the Scripps National Spelling Bee, but she initially garnered attention for her Guinness World Record\u2013setting basketball skills. In a video posted this past April<\/a>, she dribbles balls of various sizes and colors like some combination of a celestial deity and a living planetary mobile. Summer Games Done Quick<\/a> is an extended display of similarly astonishing feats, albeit of the digital variety. The yearly charity event, the 2021 installment of which will wind to a close this weekend, showcases the absolute pinnacle of speedrunning, the practice of completing a video game as quickly as possible. Just about any game can be subject to speedrunning; a cursory glance at this year\u2019s schedule<\/a> reveals such wildly divergent titles as Grand Theft Auto III<\/em>, SpongeBob\u2019s Truth or Square<\/em>,\u00a0Factorio<\/em>, Need For Speed: Porsche Unleashed<\/em>, and Demon\u2019s Souls<\/em><\/a>. I suggest tuning in for even five minutes just to witness a little controller wizardry. If you\u2019re unsure of where to jump in, Bubzia\u2019s blindfolded run of Super Mario 64<\/em> tomorrow promises to be jaw-dropping. \u2014Brian Ransom<\/strong><\/p>\n

Barry Windsor-Smith\u2019s Monsters<\/em><\/a> is no gentle giant. This staggeringly detailed 365-page graphic novel revolves around the orphan-turned-outcast Bobby Bailey, who unwittingly signs up for an experimental U.S. military program bent on building a super soldier from Nazi technology salvaged during the final days of World War II. If this description reads like a recipe for some musty bargain-basement hero pulp, then Windsor-Smith has set an exceedingly well-concealed trap. Ornamented with the sensational d\u00e9cor of comics, this book succeeds in reaching beyond those familiar baubles of genre and form to string uncommonly delicate stories of loss, familial bonds, abuse, and romantic love over a not-so-distant history of hatred and violence that haunts us still. Thirty-five years in the making, this is a narrative of patience\u2014foremost in the Latin sense\u2014that asks its readers to take their time, to sit with the brutality of its scenes and sink through the inky depths, to feel for and with its characters, burdensome though these feelings may become, because emotions of this heft should be difficult to bear and their steady transfer from the page requires stamina of the heart. Achingly good, epically scaled, and impeccably designed, Monsters<\/em> will leave you changed.\u00a0\u2014Christopher Notarnicola<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

From Barry Windsor-Smith\u2019s Monsters<\/em>. Image courtesy of Fantagraphics Books.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 reads C\u00e9sar Aira\u2019s \u2018The Divorce,\u2019 listens to Anna Webber, and sits with Barry Windsor-Smith\u2019s \u2018Monsters.\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-153488","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nStaff Picks: Traps, Tall Tales, and Table Saws by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 9, 2021 \u2013 This week, the staff of \u2018The Paris Review\u2019 reads C\u00e9sar Aira\u2019s \u2018The Divorce,\u2019 listens to Anna Webber, and sits with Barry Windsor-Smith\u2019s \u2018Monsters.\u2019\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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