{"id":154399,"date":"2021-09-03T16:07:25","date_gmt":"2021-09-03T20:07:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154399"},"modified":"2021-09-03T17:13:40","modified_gmt":"2021-09-03T21:13:40","slug":"the-reviews-review-social-media-in-reverse","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/03\/the-reviews-review-social-media-in-reverse\/","title":{"rendered":"The Review<\/em>\u2019s Review: Social Media in Reverse"},"content":{"rendered":"
\"\"<\/a>

Still from Season 3 of Caveh Zahedi\u2019s The Show about the Show<\/em>. Courtesy of Zahedi.<\/p><\/div>\n

Many artists are in some sense cannibals, but the filmmaker Caveh Zahedi takes it further than most. The initial premise of his brilliantly deranged series The Show about the Show<\/em><\/a> was that each episode would be about the making of the one before it (so Episode 1 follows Zahedi\u2019s travails in selling the show\u2019s pilot, Episode 2 reveals what went wrong behind the scenes of Episode 1, and so on). When a moment hadn\u2019t been caught on camera, he\u2019d ask everyone to re-create it; if someone refused to repeat the embarrassing thing they\u2019d said, he\u2019d cast an actor to play them instead. The recursive formula broke down with Season 2, which focuses on the demise of Zahedi\u2019s marriage, thanks to his maniacal exploitation of it during Season 1 (the divorce negotiations required that he replace his children with animations on The Show<\/em>). It\u2019s all fascinating to watch\u2014like social media in reverse, where everything a normal person wants to hide is on seemingly unfiltered display. Zahedi now has nine days left on Kickstarter to raise enough money to finish seasons 3 and 4, and for ten thousand dollars, he\u2019s prepared to make a short film about you; viewers of the first two seasons might feel we\u2019d pay nearly that much to stay off-screen. \u2014Lidija Haas\u00a0<\/strong><\/p>\n

If you\u2019re like me, then you\u2019ve been obsessively awaiting the follow-up to Claire-Louise Bennett\u2019s debut, Pond<\/em>, since 2016. At long last, her second novel, Checkout 19<\/em><\/a>, has arrived in the United Kingdom, and I abandoned my paper preferences to devour it the only way I could stateside: via PDF. A roaming literary history of the writer as a young woman, Checkout 19<\/em> follows its narrator through the books she consumes and people she meets, adding a ravenous appetite for stories to the intense solitude first seen in Pond<\/em>. Ana\u00efs Nin, Clarice Lispector, and Ann Quin in particular influence the resulting work, but Bennett\u2019s talent is entirely her own. \u201cYes, we liked one book now and one book then,\u201d Bennett writes in the opening section of Checkout 19<\/em>. I can now confidently say I like two.\u00a0\u2014Nikki Shaner-Bradford<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Twyla Tharp putting her hair up with dancers. Photo: Herbert Migdoll. Courtesy of THIRTEEN<\/small>.<\/p><\/div>\n

 <\/p>\n

I received a compliment the other day on my ability to transition from bathing suit to streetwear in plain sight. I explained that I had acquired the skill dancing through adolescence, spending all that time in changing rooms embarrassed of a changing body. Watching the PBS documentary American Masters: Twyla Moves<\/em><\/a>, I was reminded of what I had gained and lost by dancing through puberty. Maybe no one is more in love with the line between what is awkward and what is graceful than Twyla Tharp, who has been dancing and choreographing for nearly all her eighty years and has carried on, recently, through Zoom. From avant-garde to Broadway, Tharp has remained loyal to the authenticity of movement through an incredibly productive and varied career. Of course she made me miss the Marley, but her drive transcends dance, making the documentary a kind of hip pep talk for everybody. \u2014Julia Berick<\/strong><\/p>\n

When I finished listening to Axel Kacouti\u00e9\u2019s How to Remember<\/em><\/a> for the first time, I was slack-jawed. I don\u2019t know if I have ever heard something like it. This audio poem is a stunning meditation and, even more, completely immersive. Audio from the poet\u2019s home tapes cuts to a soft piano playing, crashing ocean waves, and the chatter of passersby as Kacouti\u00e9 mulls over his identity. I often find myself thinking of this line: \u201cYou are not this terrible thing that needs to be grateful for being here.\u201d Luscious sonic scenes lift you to someplace special\u2014the inside of Kacouti\u00e9\u2019s mind. It\u2019s audio art at its finest and a poetic experience that isn\u2019t to be missed. \u2014Lauren Williams<\/strong><\/p>\n

I\u2019ve been rereading Daphne du Maurier\u2019s short stories. I had forgotten just how intensely creepy and odd they are. The very best among them truly feel like the product of a slightly unhinged mind\u2014and indeed, those included in her excellent 1959 collection The Breaking Point<\/em><\/a> were written during a period of great mental distress as she perched on the knife-edge of a nervous breakdown. But I\u2019ve been especially captivated by \u201cThe Birds,\u201d which originally appeared in the 1952 collection\u00a0The Apple Tree<\/em>. Set in rural Cornwall in the middle of a cruel and cold \u201cblack winter,\u201d the story couldn\u2019t be further from the Technicolor Californian landscape of Hitchcock\u2019s famous film adaptation. Also, the hypothesis put forward in the story\u2014that the feathered creatures\u2019 violent behavior has been brought on by a change in weather systems\u2014just screams contemporary cli-fi. \u2014Lucy Scholes<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: Ben van Meerendonk \/ AHF, collectie IISG, Amsterdam. CC BY-SA 2.0 (https:\/\/creativecommons.org\/licenses\/by-sa\/2.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Read \u201cThe Madame Bovary of North-East London<\/a>,\u201d the latest installment of Lucy Scholes\u2019s column Re-Covered.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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