{"id":159401,"date":"2022-05-13T13:26:25","date_gmt":"2022-05-13T17:26:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=159401"},"modified":"2022-05-16T15:17:57","modified_gmt":"2022-05-16T19:17:57","slug":"on-water-artworks-and-writing-retreat-novels","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/13\/on-water-artworks-and-writing-retreat-novels\/","title":{"rendered":"On Watery Artworks and Writing-Retreat Novels"},"content":{"rendered":"
\"\"<\/a>

Jim Campbell, Topographic Wave II<\/em>. Photograph by April Gornik, courtesy of Sag Harbor Church.<\/p><\/div>\n

“Empire of Water<\/a>,”<\/span> on view until May 30 at<\/span> The Church<\/span><\/a> in Sag Harbor, New York, is well worth a wander out east. The exhibition, cocurated by the Church cofounder and artist Eric Fischl and the chief curator, Sara Cochran, features watery works from forty-two artists including Warhol, Ofili, Lichtenstein, Longo, and Kiefer, and an Aitken that delights. But the cake stealer is hiding in the back corner of the first floor: <\/span>Topographic Wave II<\/span><\/i>, by Jim Campbell. Tucked behind a partial gallery wall are 2,400 custom-built LEDs of various lengths mounted on a roughly four-by-six-foot black panel and arranged neatly in a tight grid, like a Lite-Brite for grown-ups or a work of Pointillism by robots with OCD. From a small distance, images appear as shimmering figures swimming through Pixelvision water. Walk closer and the picture dissolves into fragmented dots blinking some unrecognizable pattern. For a short time I paced in front of it, goofily leaning in close then stepping back. Distantly, I recalled an instruction to squint when viewing Seurat, so I did that, too.\u00a0<\/span><\/p>\n

\u2014Joshua Liberson, advisory editor<\/b><\/p>\n

<\/p>\n

Caren Beilin\u2019s <\/span>Revenge of the Scapegoat<\/span><\/i><\/a> is a weird book, in the best possible way. The novel follows Iris, a Philadelphia-based adjunct, as she flees for the countryside after she receives a series of letters from her past, penned by her father, who blames her for a familial crisis that occurred in her teenage years. There\u2019s a sense of gleeful rampage. \u201cBonkers\u201d is probably the best way to describe Beilin\u2019s writing, which is full of madcap, often darkly funny digressions about publishing, the art world, chronic illness, complicated family dynamics, and the traumatic legacy of the Holocaust. \u201cA book should be like a lot of spit,\u201d Iris declares early on. \u201cYou can get an artist to live at a concentration camp easy,\u201d another character says later in the book, about artist residencies, \u201cif there\u2019s a super streamlined application process.\u201d<\/span><\/p>\n

\u2014Rhian Sasseen, engagement editor<\/b>\u00a0<\/span><\/p>\n

This past week I\u2019ve been reading Shola von Reinhold\u2019s debut,\u00a0<\/span>Lote<\/span><\/i><\/a>, <\/span>a heady novel that explores, in multiple genres and forms\u2014comedy of errors, writing-retreat novel, book within a book\u2014the erasure of Black art from gallery walls, history books, and archives. The novel\u2019s narrator, Mathilda Adamarola, is fascinated by the London-based artists and socialites of the twenties known as the Bright Young Things. She\u2019s itinerant, in thrall to decadence, possessed of multiple names, a researcher dilettante. With a little deception and luck, she is admitted to a writing residency honoring the work of <\/span>John Garreaux, a<\/span> fictional theorist whose work emphasizes a kind of aesthetic rigidity and blankness our hero despises. She revolts against the residency\u2019s conspicuous rules, but falls prey to some of its subtler machinations, and Von Reinhold\u2019s sensual sentences unfurl like ethereal greenery as you read.<\/span><\/p>\n

Concurrently, I\u2019ve been reading some plays Harold Pinter wrote in the seventies that are also very British and concerned with nostalgia. The one that really had me in its teeth was <\/span>No Man\u2019s Land<\/span><\/i><\/a>, which opens with a conversation between a wealthy British writer named Hirst and a much younger and less established poet named Spooner. The two have returned from the pub together, and act as if they just met. But the play\u2019s second act embarks on a new premise: that Hirst and Spooner have known each other for years, and that their lives are deeply entwined \u2026 or maybe not so deeply. Like <\/span>Lote<\/span><\/i>, the text veers from intimate to alienated in an instant. Everyone talks at cross-purposes; some of what they say is nearly nonsense. The characters\u2019 misapprehensions of one another\u2019s language are so large that a drama of word association ensues, unbeknownst to the speakers. The humor could not be drier, as when Hirst bemoans, \u201cI do not understand \u2026 how the most sensitive and cultivated of men can so easily change, almost overnight, into the bully, the cutpurse, the brigand. In my day nobody changed. A man was.\u201d<\/span><\/p>\n

\u2014Hannah Gold<\/b>
\nRead Hannah Gold\u2019s interview with Will Arbery on the <\/span><\/i>Daily<\/span> here<\/span><\/i><\/a>.\u00a0<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

We recommend Jim Campbell’s Topographic Wave II, Caren Beilin, and Shola von Reinhold.<\/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":[68402,67827,4616,68434,883],"class_list":["post-159401","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-caren-beilin","tag-featured","tag-harold-pinter","tag-shola-von-rhinehart","tag-staff-picks"],"acf":[],"yoast_head":"\nOn Watery Artworks and Writing-Retreat Novels by The Paris Review<\/title>\n<meta name=\"description\" content=\"May 13, 2022 \u2013 We recommend Jim Campbell's Topographic Wave II, Caren Beilin, and Shola von Reinhold.\" \/>\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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