{"id":160248,"date":"2022-06-24T11:00:22","date_gmt":"2022-06-24T15:00:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160248"},"modified":"2022-06-28T17:06:09","modified_gmt":"2022-06-28T21:06:09","slug":"on-hannah-blacks-pandemic-novella-barthelme-and-pessoa","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/24\/on-hannah-blacks-pandemic-novella-barthelme-and-pessoa\/","title":{"rendered":"On Hannah Black\u2019s Pandemic Novella, Barthelme, and Pessoa"},"content":{"rendered":"
\"\"<\/a>

Blue jellyfish. Photograph by Annette Teng<\/a>.\u00a0Licensed under CC BY 3.0<\/a>.<\/p><\/div>\n

Hannah Black\u2019s novella <\/span>Tuesday or September or the End<\/span><\/i><\/a> begins in the early months of 2020, on the heels of a strange discovery: an alien object, oak-tree-like but seemingly machine-fabricated, has materialized on the shore of Jones Beach. According to the frenetic narrative of the news, one that chokes everyday life, it would seem that everyone in America is obsessed with the possibility of alien contact. But Bird initially has no interest in the strange object; she is a communist who would rather \u201ctalk about her feelings,” while her boyfriend, Dog, a social democrat, tries to \u201cembrace popular feeling\u201d\u2014he is \u201camong the enraptured many.\u201d In March, after COVID<\/small> is recognized as a legitimate threat to life, the couple is separated without ceremony or passion. They seem uninterested in reuniting until riots following the murder of George Floyd turn into a revolution: all prisoners are released, and Rikers falls into a sinkhole.\u00a0<\/span><\/p>\n

In the real-life early months of 2020, it was assumed\u2014at least by magazine editors, and the writers they commissioned\u2014that collective grief was best understood through a process of individual accounting: reflections on how one spent or wasted or optimized their newfound free time. “Pandemic diaries,” as these reflections became known, promised to do the work of explaining ourselves to ourselves. Today, they have altogether disappeared. <\/span>Tuesday or September of the End<\/span><\/i> bears many of the superficial marks of the genre; the events of the book are demarcated by the months in which they occur, and, as <\/span>Black\u00a0<\/span>told<\/span> BOMB<\/span><\/i><\/a>, it is \u201ca fictionalized version of the first six months of 2020 \u2026 as if you can fictionalize time itself.\u201d But while the diary fixates on the ordinary, attempting to derive collective meaning from individual routine, Black\u2019s novella mobilizes an absurd and unlikely third party whose arrival signals a break from the anesthetizing qualities of contemporary life. Humanity submits \u201citself as an object of study\u201d for the aliens, who interview people one by one; the aliens, in turn, suffer from “the introduction of the concept of prison,\u201d but are \u201cdeeply healed by riot.\u201d I was so compelled by their psychology, which enables the couple and all of the other humans they live among to feel collective liberation as something tangible, inevitable, and already arising.\u00a0<\/span><\/p>\n

\u2014Maya Binyam, contributing editor<\/b><\/p>\n

<\/p>\n

Being a student makes the summer a strange, unique, and stressful time, because it leaves you to read anything, and everything, you want. This tyranny of choice has led me to the summer practice of keeping two books going at once. Right now, I\u2019m reading Donald Barthelme\u2019s 1968 story collection, <\/span>Unspeakable Practices, Unnatural Acts<\/span><\/i><\/a>, alongside Fernando Pessoa\u2019s <\/span>Book of Disquiet<\/span><\/i><\/a>, a quasi-diary written throughout the 1910s. The stories in the first include classics of the <\/span>New Yorker<\/span><\/i> Fiction section like \u201cThe Balloon\u201d and \u201cThe President\u201d; they are nimble, absurd, devastating, and singular in their significance, not only as great fiction but as part of American history (\u201cRobert Kennedy Saved From Drowning\u201d was published just two months before the real Kennedy\u2019s assassination). The latter is the fragmented \u201cfactless autobiography\u201d of the isolated book clerk and Lisbonite Bernardo Soares, one of Pessoa\u2019s many heteronyms. It was a career-spanning project left unedited and incomplete, published almost fifty years after the writer\u2019s death.<\/span><\/p>\n

I usually don\u2019t give much curatorial thought to these combinations\u2014one becomes my daytime reading, I switch to the other by night, and they tend to balance each other out\u2014but I\u2019ve found these two to be almost disconcertingly related. They seem to speak to each other through a playful common language of existential anticoncern, a very summery divestment from the search for meaning. \u201cThe only attitude worthy of a superior man,\u201d writes Pessoa, \u201cis to doggedly pursue an activity he recognizes is useless, to observe a discipline he knows is sterile, and to adopt norms of philosophical and metaphysical thought that he considers utterly inconsequential.\u201d Meanwhile, Barthelme\u2019s narrator in \u201cSee the Moon?\u201d conducts a brief but revelatory interview with a character who might easily have read Pessoa themselves: \u201c\u2018Is there any value that has value?\u2019 I asked. \u2018If there is any value that has value, then it must lie outside the whole sphere of what happens and is the case, for all that happens and is the case is accidental,\u2019 he said. He was not serious. I wrote in my book, <\/span>knows the drill<\/span><\/i>.\u201d<\/span><\/p>\n

\u2014Owen Park, reader<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

We recommend Tuesday or September or the End, Unspeakable Practices, Unnatural Acts, and The Book of Disquiet.<\/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":[33301,22769,24180,68469,883],"class_list":["post-160248","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-barthelme","tag-fernando-pessoa","tag-hannah-black","tag-pandemic-diary","tag-staff-picks"],"acf":[],"yoast_head":"\nOn Hannah Black\u2019s Pandemic Novella, Barthelme, and Pessoa by The Paris Review<\/title>\n<meta name=\"description\" content=\"June 24, 2022 \u2013 We recommend Tuesday or September or the End, Unspeakable Practices, Unnatural Acts, and The Book of Disquiet.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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