{"id":160391,"date":"2022-07-01T13:00:06","date_gmt":"2022-07-01T17:00:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160391"},"modified":"2022-07-01T15:21:51","modified_gmt":"2022-07-01T19:21:51","slug":"cline-bevacqua-gluck-recommend","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/07\/01\/cline-bevacqua-gluck-recommend\/","title":{"rendered":"Emma Cline, Dan Bevacqua, and Robert Gl\u00fcck Recommend"},"content":{"rendered":"
\"\"<\/a>

Photograph by makeshiftlove, via Wikimedia Commons<\/a>. Licensed under\u00a0CC BY 2.0<\/a>,<\/p><\/div>\n

This week, we bring you reviews from three of our issue no. 240<\/a> contributors.<\/span><\/i><\/p>\n

The documentary\u00a0Rocco<\/em>, which follows the Italian porn actor and director Rocco Siffredi, feels like a hundred perfect short stories. We learn that Rocco carries around a photo of his mother at all times. We watch Rocco and his teenage sons chat in their cavernous and starkly lit climbing gym\/weight room in Croatia. We discover that Rocco\u2019s hapless cameraman of many decades, Gabriel, is actually his cousin, a thwarted porn star. During one virtuosic shoot (Rocco Siffredi Anal Threesome with Abella Danger<\/em>)\u00a0Gabriel accidentally leaves the lens cap on, which they discover only after shooting the entire scene. There\u2019s a surprising sweetness in Rocco, a man in the twilight of a certain era. \u201cThey used to focus on the women\u2019s faces,\u201d he says, sadly. He\u2019s decided to retire. The final scene finds Rocco carrying a giant wooden cross on his back through the hallways of the Kink.com Armory. This tableau is the brainchild of Gabriel. \u201cBecause you die for everyone\u2019s sins,\u201d he tells Rocco.<\/p>\n

\u2014Emma Cline, author of \u201cPleasant Glen<\/a>\u201d\u00a0<\/b><\/p>\n

Goodbye, Dragon Inn<\/span><\/i> is about a lot of things: the last ever screening at Taipei\u2019s Fu-Ho Grand Movie Palace; a ticket-taker who wants to gift half of a steamed bun to the projectionist; a young man cruising the theater for sex; and that lonely, amorphous feeling of THE END<\/small>\u2014not so much death as the cinematic mood of loss. When I heard about <\/span>Goodbye, Dragon Inn<\/span><\/i>, which was directed by Tsai Ming-liang and released in 2003, I could neither see it in a movie theater nor stream it anywhere. At the time, my brother was quarantining in a high-rise apartment building in Santiago, Chile. He found an illegal copy of it on the internet and sent it to me. I liked the criminality of this exchange. No character in <\/span>Goodbye, Dragon Inn <\/span><\/i>breaks the law, but it feels like there\u2019s a crime going on. Part of this is due to the rain and the shadows and the grimy brokenness of the Fu-Ho Grand, but it\u2019s mostly because <\/span>Goodbye, Dragon Inn<\/span><\/i> is a stripped down melodrama of longing. The ticket-taker is the film\u2019s star. At one point, she goes behind the movie screen. The light hits her face. We seem to know nothing about her, but that\u2019s not true. We know how, in the light of the screen, despite the forces that would stop her, she hopes and dreams. In this way, we know her exactly.<\/span><\/p>\n

\u2014Dan Bevacqua, author of \u201cRiccardo<\/a><\/b><\/strong>\u201d<\/b><\/strong><\/p>\n

I\u2019m currently reading INRI<\/em><\/a> (published in William Rowe\u2019s translation by NYRB\/POETS), a book-length poem in which Ra\u00fal Zurita remembers the \u201cdisappeared\u201d in Chile: those who vanished in the seventies, especially those who were thrown out of planes and helicopters into Chile\u2019s ocean, volcanoes, and deserts. My dear friend Norma Cole gave me the book\u2014her wonderful, learned preface provides an account of the different forms Zurita has used to address Pinochet\u2019s murders. When t<\/span>he trauma of mass death replaces the rich complexity of the lives that have ended, it may take a generation or two for the richness of those lives to reenter the culture, in the past tense, as a memory. But what of a trauma whose existence has been suppressed? Zurita initiates this work of mourning by turning the world upside down, creating a new reality with a place for the knowledge of the dead. As William Rowe writes, \u201cThis poem seeks a place where the wound can be included inside the making of a different reality. That place requires a particular type of space, where what has been concealed, expunged from history, can appear.\u201d<\/p>\n

This is the kind of book I love\u2014a book that is ambitious for literature itself. Zurita goes as far as he can, he goes to the limit. Sensation enters through the ear, because the victims\u2019 eyes were torn out with hooks before they were thrown into the air. \u201cI can hear the rabbit stunned by the headlights.\u201d The dead are bait for the fish, snow for the mountains. The author enters the poem: first the murdered are \u201cthey,\u201d then Zurita appears as himself. Then he joins the murdered \u201cwe.\u201d<\/p>\n

The Pacific breaks away from the coastline and
\nfalls. First it was the cordilleras and now it is the
\nsea that falls. From the coast to the horizon it
\nfalls. In an enemy country it is common for
\nbodies to fall, for the sea to break away from the
\ncoast and fall like the daisies that groan as they
\nhear the cordilleras sinking where love, where
\nmaybe love, Zurita, moans and weeps because
\nin an enemy country it is common for the Pacific
\nto collapse face down like a broken torso on the
\nStones.<\/p><\/blockquote>\n

INRI<\/em> is unsparing and sometimes ugly. When dealing with catastrophe, tact can be repellent. The strange title INRI<\/em> is a salute to Christianity, but Zurita detaches love from the Christian narrative and recognizes it in the Chilean landscape. He proceeds by accretion and repetition of images that go through variations as a fugue, \u201cfrom horror to love,\u201d as Norma Cole says. There is no consolation, or if so, it is the conviction that life has value even when squandered in holocausts.<\/p>\n

\u2014Robert Gl\u00fcck, author of \u201cAbout Ed<\/a>\u201d<\/b><\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Porn star Rocco Siffredi; Tsai Ming-Liang\u2019s Goodbye, Dragon Inn; and Ra\u00fal Zurita\u2019s INRI.<\/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":[68462,68477,7774,68476,68478],"class_list":["post-160391","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-issue-240","tag-porn-star","tag-raul-zurita","tag-rocco-siffredi","tag-tsai-ming-liang"],"acf":[],"yoast_head":"\nEmma Cline, Dan Bevacqua, and Robert Gl\u00fcck Recommend by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 1, 2022 \u2013 Porn star Rocco Siffredi; Tsai Ming-Liang\u2019s Goodbye, Dragon Inn; and Ra\u00fal Zurita\u2019s INRI.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2022\/07\/01\/cline-bevacqua-gluck-recommend\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emma Cline, Dan Bevacqua, and Robert Gl\u00fcck Recommend by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"July 1, 2022 \u2013 Porn star Rocco Siffredi; 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