{"id":158674,"date":"2022-04-22T11:58:42","date_gmt":"2022-04-22T15:58:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=158674"},"modified":"2022-04-22T13:05:11","modified_gmt":"2022-04-22T17:05:11","slug":"review-recommends-scott-holiday","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/04\/22\/review-recommends-scott-holiday\/","title":{"rendered":"The Review Recommends Gail Scott, Harmony Holiday, and Georgi Gospodinov"},"content":{"rendered":"
\"\"<\/a>

“Pale blue sky beyond anarchy of chimney pots,” writes Gail Scott. Photograph of chimneys in Montmartre<\/a>\u00a0by Dietmar Rabich. LICENSED UNDER CC BY-SA 4.0<\/a>.<\/p><\/div>\n

I first encountered Gail Scott\u2019s sentences in <\/span>Calamities<\/span><\/i><\/a>, a book of glorious short essays by Renee Gladman, one of Scott\u2019s closest readers. \u201cThese were the shortest sentences I\u2019d ever seen,\u201d Gladman writes, \u201cyet they were not the kind of sentences that allowed you to rest when you reached the end of them. They pointed always to the one up ahead \u2026\u00a0They pushed you off a balcony; they caused fissures in your reading mind.\u201d When I finally read Scott, it was two novels back to back: <\/span>Heroine<\/span><\/i><\/a>, a young lesbian\u2019s feverish account of living in a Montreal boarding house in the early eighties, and <\/span>My Paris<\/span><\/i><\/a>, the precisely calibrated diaries of an often depressed Quebecois woman living in Paris. It was easy to see how you might want to live in Scott\u2019s sentences forever, or, as Gladman did, transcribe them from memory onto your living room wall. I read them again and again for the pleasure of pure description; for the unnamed women who move through them without warning, wearing loose black pants, an olive-green jumpsuit, silk socks, and irrepressible perfume; for Scott’s impressions of Quebecois\u00a0political-left consciousness in the second half of the twentieth century. \u201c<\/span>Heroine<\/span><\/i> is more a work of reading than of writing,\u201d Eileen Myles wrote in the book’s introduction, which was also published<\/a> <\/span>by the <\/span>Review<\/span><\/i> in 2019. It\u2019s the deceptive work of accumulation, too, that drives both these novels\u2014in the kind of ravenous prose that seems to revise itself as it’s already in motion. From <\/span>My Paris<\/span><\/i>: \u201cThe marvellous <\/span>is <\/span><\/i>to be had. I thinking at 5:30a. Looking out window. Pale blue sky beyond anarchy of chimney pots. You just have to pierce the smugness of the surface.\u201d<\/span><\/p>\n

\u2014Oriana Ullman, intern<\/strong><\/p>\n

<\/p>\n

\u201cHistory repeats itself.\u201d This repetition, the relentless circularity of time, is the subject of <\/span>Time Shelter<\/span><\/i><\/a>, the latest novel by the Bulgarian writer Georgi Gospodinov, translated by Angela Rodel. It follows an unnamed Bulgarian narrator as he finds himself drawn into the creation of a Zurich-based \u201cclinic of the past\u201d for Alzheimer\u2019s patients, dreamed up by Gaustine, a philosopher prone to uttering enigmatic sentences like, \u201cNo one has yet invented a gas mask and bomb shelter against time.\u201d The clinic is neatly divided into floors, each of which is dedicated to a decade of the patients\u2019 lives\u2014but these floors eventually begin to spill over into one another. Mayhem ensues. Soon, nonpatients want in, too, and politics enters the scene. Referendums are held: Should Europe be returned to its past? Strewn with aphoristic meditations on the history, fiction, the nature of time, and the construct of Europe, this is a novel that feels both prescient and like a dream. Or like a moment of d\u00e9j\u00e0 vu: At the book\u2019s end, is it 1914 in Sarajevo, a time and place that decided the course of modernity as we know it\u2014or is it a reenactment of that assassination, happening in 2024? At what point does that which is reenacted merge with that which is real? As Gospodinov illustrates, it\u2019s pointless to bet against the past. The house always wins.<\/span><\/p>\n

\u2014Rhian Sasseen, engagement editor<\/b><\/p>\n

I\u2019ve been spending some time with Harmony Holiday\u2019s startling new book of poetry, <\/span>Maafa<\/span><\/i><\/a>, which is both verbally dense and free-flowing, terrifying and moving. Maafa<\/em> is a Swahili word for \u201ccatastrophe\u201d or \u201cholocaust,\u201d and the book\u2019s lyric sequences are preoccupied with questions of how to understand, represent, and maybe even channel the overwhelming history of violence against Black lives. From Holiday\u2019s vantage, the answers are by no means simple\u2014at one point, a voice exclaims, \u201cI\u2019m reluctant to write this shit.\u201d The difficulty of doing a catastrophe justice is entwined with the further tragedy of its potential co-option. The result is a field of fragments that oscillates between Ancient Egypt and \u201cFenty \/ Beauty ambassador\u201d: destabilized but driven, at war with itself and with the narcotic of easy narratives, and ultimately visionary in its search.<\/span><\/p>\n

Black music is a recurring subject in Holiday\u2019s writing, and the book calls on a pantheon of sonic ancestors: Lena Horne, Sun Ra, Al Green, Bone Thugs-n-Harmony. They are the points of contact by which a stolen history might be clawed back: \u201cblack\u00a0 \u00a0 music\u00a0 \u00a0 is \u00a0 the \u00a0 music \u00a0 of\u00a0 \u00a0 forensics \/\/ all \u00a0 my \u00a0 dead \u00a0 friends\u00a0 come\u00a0 to\u00a0 me \u00a0 as\u00a0 songs.\u201d Resurfacings of stark violence crash into quicksilver wordplay: Holiday\u2019s language is always restless as it cascades over itself, mischievous and never quite pin-downable, like the theme of a jazz chart that is taken up and reinvented in improvisation. The w<\/span>ords run across the page in staggered spacings, as though written by a musician trying to hold the rhythm of the sentence in her pocket. <\/span>Survival, Holiday tells us, is an ongoing struggle, something that is fought for between every word.<\/span><\/p>\n

\u2014David Wallace, advisory editor<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

This week\u2019s recommendations from Paris Review staff.<\/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":[68386],"tags":[68412,68411,28833,2543,883],"class_list":["post-158674","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-gail-scott","tag-georgi-gospodinov","tag-harmony-holiday","tag-montreal","tag-staff-picks"],"acf":[],"yoast_head":"\nThe Review Recommends Gail Scott, Harmony Holiday, and Georgi Gospodinov by The Paris Review<\/title>\n<meta name=\"description\" content=\"April 22, 2022 \u2013 This week\u2019s recommendations from Paris Review staff.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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