{"id":160985,"date":"2022-08-05T13:31:12","date_gmt":"2022-08-05T17:31:12","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160985"},"modified":"2022-08-05T13:32:16","modified_gmt":"2022-08-05T17:32:16","slug":"veronica-blondell-cummings","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/08\/05\/veronica-blondell-cummings\/","title":{"rendered":"Mary Gaitskill\u2019s Veronica<\/em> and the Choreography of Chicken Soup<\/em>"},"content":{"rendered":"
\"\"<\/a>

National Photo Company Collection, Public domain, via Wikimedia Commons<\/a>.<\/p><\/div>\n

The seventies and eighties were a high point in American dance, and consequently, dance on television. As video technologies advanced, one-off performances inaccessible to most could be seamlessly captured and broadcast to the masses. Like all art forms, dance at this time was also influenced aesthetically by this new medium, as cinematic techniques permeated the choreographic (and vice versa). Today, many of these dance films are archived on YouTube. My favorite is a recording of avant-garde choreographer Blondell Cummings\u2019s Chicken Soup<\/i><\/a>, a one-woman monologue in dance that aired in 1988 on a TV program called Alive from Off Center<\/em>. The piece is set to a minimalist score Cummings composed with Brian Eno and Meredith Monk. Over the music, a soft feminine voice narrates: \u201cComing through the open-window kitchen, all summer they drank iced coffee. With milk in it.\u201d Cummings repeats a series of gestures: sipping coffee, threading a needle, and rocking a child. She glances with an exaggerated tilt of the head at an imaginary companion and mouths small talk\u2014what Glenn Phillips of the Getty Museum calls her signature \u201cfacial choreography.\u201d Her movements are sharp and distinct, creating the illusion that she is under a strobe light, or caught on slowly projected 35 mm film. She sways back and forth like a metronome, keeping time with her gestures.<\/p>\n

This particular performance placed Cummings in a detailed set evocative of a fifties household. But when she performed Chicken Soup<\/i> onstage, accompanied solely by piano music, there was no set at all aside from a wooden chair. In this<\/a> recording, for example, of a 1989 live performance at Jacob\u2019s Pillow, her movements themselves seem endowed with greater importance, and the barrier between storyteller and audience feels gauze thin. Chicken Soup<\/i> is an invitation inside, into a conversation that is both private and familiar. \u201cThey sat in their flower-print housedresses at the white enameled kitchen table,\u201d the voiceover continues, \u201cendlessly talking about childhood friends. Operations. And abortions.\u201d The work premiered in 1973, the year the Supreme Court ruled on Roe vs. Wade<\/i>, but Cummings\u2019s kitchen could be any woman\u2019s\u2014anytime, anywhere.<\/p>\n

\u2014Elinor Hitt, reader<\/strong><\/p>\n

<\/p>\n

I was recently gifted a copy of Mary Gaitskill\u2019s 2005 novel Veronica <\/i>by a friend, with a warning: You might like this a bit too much<\/i>. Indeed, I was immediately engrossed by Gaitskill\u2019s narrator\u2014the wistful, appearance-obsessed Alison\u2014and her own habit of liking things a bit too much. The Alison of the novel\u2019s bleak present, a feeble woman plagued by hepatitis, a codeine addiction, and a stiff arm, is preoccupied by her glamorous past, constantly revisiting the series of events that took her from Californian teenage runaway to Parisian fashion model, and ultimately ejected her into the glum world in which she finds herself several decades later. Now, every interaction in her daily life\u2014from riding the bus to cleaning offices as a temp\u2014hurtles Alison into a well of memories, reminding her of the porcelain-faced model she once was. In interviews, Gaitskill has described the book\u2019s structure as \u201calmost like a palimpsest, rather than flashbacks\u2014it was one time bleeding through another. Sometimes I changed the time frame by decades in one paragraph or even in one sentence.\u201d There\u2019s a violence in the way the past mercilessly seeps into Alison\u2019s life, soaks it, weighs her down. But she doesn\u2019t see it that way: \u201cI feel like the bright past is coming through the gray present,\u201d she says hopefully, \u201cand I want to look at it one more time.\u201d<\/p>\n

Alison\u2019s vanity prevails even as her physical body decays, providing opportunities for shrewd, annihilating appraisals of the strangers she meets, descriptions which linger for a beat longer than you\u2019d expect. \u201cHe\u2019s got the face of someone who\u2019s been beat too many times,\u201d Alison notes of her neighbor Freddie. \u201cHe\u2019s also got the face of somebody who, after the beating is done, gets up, says \u2018Okay,\u2019 and keeps trying to find something good to eat or drink or roll in.\u201d Nearly every sentence of the book is profoundly energetic, with each darting line pushing up against the next in surprising ways: \u201cI loved them like you love your hand or your liver,\u201d she says of her parents, \u201cwithout thinking about it or even being able to see it.\u201d<\/p>\n

\u2014Camille Jacobson, business manager<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Blondell Cummings in Chicken Soup<\/em> (1988, Alive from Off Center<\/em>).<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Blondell Cummings\u2019s dance is an invitation inside, into a conversation that is both private and familiar.<\/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":[68499,17818,67827,748,31005,883],"class_list":["post-160985","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-blondell-cummings","tag-choreography","tag-featured","tag-mary-gaitskill","tag-modern-dance","tag-staff-picks"],"acf":[],"yoast_head":"\nMary Gaitskill\u2019s Veronica and the Choreography of Chicken Soup by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 5, 2022 \u2013 Blondell Cummings\u2019s dance is an invitation inside, into a conversation that is both private and familiar.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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