{"id":153962,"date":"2021-08-13T11:25:30","date_gmt":"2021-08-13T15:25:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153962"},"modified":"2021-08-13T15:14:22","modified_gmt":"2021-08-13T19:14:22","slug":"the-reviews-review-secrets-sebald-and-simmering-heat","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/08\/13\/the-reviews-review-secrets-sebald-and-simmering-heat\/","title":{"rendered":"The Review<\/em>\u2019s Review: Secrets, Sebald, and Simmering Heat"},"content":{"rendered":"
\"\"<\/a>

Still from Alicia Scherson\u2019s Il Futuro<\/em>, 2013. Courtesy of Strand Releasing.<\/p><\/div>\n

A film I often come back to and that I think everyone should see is\u00a0Il Futuro<\/em><\/a> (2013), by the Chilean director Alicia Scherson. It\u2019s based on A Little Lumpen Novelita<\/em>, one of my favorite novels by Roberto Bola\u00f1o, translated by Natasha Wimmer and published by New Directions in 2014. The book is about Bianca, orphaned in her teens by a car crash, and the life of crime she and her brother begin to lead soon after. Starring Manuela Martelli and the late Rutger Hauer, Scherson\u2019s film conveys Bianca\u2019s new sense of reality in scenes of dark, destabilizing eroticism, and sometimes warmth and levity. Scherson\u2019s film adaptation of Bola\u00f1o\u2019s novel The Third Reich<\/em>\u00a0is also in the works, titled\u00a01989<\/em>. \u2014Amina Cain\u00a0<\/strong><\/p>\n

Peter Atkins risks a big overpromise in the short introduction to the \u201cshort introduction\u201d to The Laws of Thermodynamics<\/em><\/a>\u2014understand these laws and \u201cyou will know what drives the universe.\u201d Ever the seeker, I dived into this slim orange book with high expectations and found an unexpected treatise on language. Atkins writes that \u201cscience \u2026 takes terms with an everyday meaning and sharpens them\u2014some would say, hijacks them\u2014so that they take on an exact and unambiguous meaning.\u201d System<\/em>, surroundings<\/em>, open<\/em>, close<\/em>, heat<\/em>, spontaneous<\/em>, tendency<\/em> all became rich and weighty, and in the heady way of reading a Wallace Stevens poem, paragraphs on steam engines and combustion started to feel like metaphors for everything and nothing\u2014or, probably, for whatever drives the universe. \u2014Lauren Kane<\/strong><\/p>\n

FOTOMATIC, a post-punk trio out of Toulouse, France, has been obsessing me for the better part of a month. Released this past June, their 7″ featuring \u201cBipolarity\u201d<\/a> is frenetic yet polished. It\u2019s heaven for hotheaded listeners like me. On the B-side, FOTOMATIC covers \u201cTake a Ride,\u201d by the Parisian all-girl punk band Les Lou\u2019s, whose sole extant recording of it is the one used in the 1979 cult film La Brune et Moi<\/em>. The story goes that the film screened for a week on the Left Bank and then receded into obscurity for a few decades. We have FOTOMATIC to thank for digging it up. \u2014Jay Graham<\/strong><\/p>\n

I just finished Sybille Bedford\u2019s A Legacy<\/em><\/a>. I\u2019d never read any Sybille Bedford before and now feel I have to read everything she\u2019s ever written. A Legacy<\/em> is the strangest composition, a kind of memoir of the lives of her parents before she was born, but really a novel about families and their secrets and the way a secret keeps on operating in a family over time. Also, her dialogue is some of the best novelistic dialogue I\u2019ve read. \u2014Adam Thirlwell\u00a0<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Still from Fradique\u2019s Air Conditioner<\/em>, 2020. \u00a9 Gera\u00e7\u00e3o 80. Courtesy of MUBI<\/small>.<\/p><\/div>\n

 <\/p>\n

Temperatures are high in Luanda, Angola\u2019s capital, and air conditioners are mysteriously falling from apartment windows. From this straightforward premise, Angolan director Fradique creates Air Conditioner<\/em><\/a>, which follows Matacedo, a security guard, on a quest to repair his awful boss\u2019s air-conditioning unit. With pleasurably meandering shots of everyday life in Luanda and a borderline surreal scene set in an electronics repair shop, Air Conditioner<\/em> isn\u2019t shy about critiquing the class divide\u2014as a T-shirt shown in one of the film\u2019s opening series of stills declares, ART IS RESISTANCE.<\/small> \u2014Rhian Sasseen<\/strong><\/p>\n

Pandemic trauma has presented differently in each of us. Standing in line at a grocery store, I noticed the words \u201cSeptember 2021\u201d on the cover of The Atlantic<\/em>, with its story on a young man killed in the 9\/11 attacks, and thought, The magazines here are a whole year out of date? Of course, it was my own mind that had slipped. Jennifer Senior\u2019s piece<\/a> is both a kind of stunning synecdoche and a timely exploration of how grief has as many variants as it has hosts, mutating until we are each alone in our memory of even the most common tragedy. \u2014Julia Berick<\/strong><\/p>\n

A new album by Torres\u2014stage name of the singer-songwriter and indie rock powerhouse Mackenzie Scott\u2014is just what the world needs right now. Thirstier<\/i><\/a>, her fifth, is unrelenting in its intensity and unafraid to grip live emotional wires, driven, as all Scott\u2019s music is, to get at the truth about love and connection. Everywhere I look, there\u2019s something to be scared of; thank you, Torres, for feeling all the feels I can\u2019t afford to. \u2014Craig Morgan Teicher<\/strong><\/p>\n

Once, in a letter to his friend Marie, W.\u2009G. Sebald enclosed a photo of his sister Gertrud and his friend Sepp Willers. The picture had been taken six months before Sebald was born. Sebald told Marie, \u201cIt\u2019s outrageous\u2026 they clearly don\u2019t miss me.\u201d \u201cDear Max,\u201d I thought as I read the first biography of Sebald, Carole Angier\u2019s forthcoming Speak,\u00a0Silence<\/a><\/em>, and pictured that melancholy white mustache, \u201cwe all miss you terribly.\u201d \u2014Robin Jones<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

W.\u2009G. Sebald. Photo: \u00a9 Jerry Bauer. Courtesy of New Directions.<\/p><\/div>\n

 <\/p>\n

Read Amina Cain\u2019s interview with Azareen Van der Vliet Oloomi, published earlier this week on the\u00a0<\/em>Daily.<\/em><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, the \u2018Review\u2019 reads a biography of W. G. Sebald, listens to Torres\u2019s latest album, and learns the fundamental laws of the universe.<\/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-153962","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nThe Review\u2019s Review: Secrets, Sebald, and Simmering Heat by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 13, 2021 \u2013 This week, the \u2018Review\u2019 reads a biography of W. G. 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