{"id":162181,"date":"2022-10-28T12:12:44","date_gmt":"2022-10-28T16:12:44","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=162181"},"modified":"2022-10-28T12:28:33","modified_gmt":"2022-10-28T16:28:33","slug":"staff-picks-scary-stories","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/28\/staff-picks-scary-stories\/","title":{"rendered":"Staff Picks: Scary Stories"},"content":{"rendered":"
\"\"

Halloween decorations, Black Bull, Wetherby, West Yorkshire. Mtaylor848, CC BY-SA 4.0<\/a>, via Wikimedia Commons.<\/p><\/div>\n

While every story in Meng Jin\u2019s <\/span>Self-Portrait with Ghost<\/span><\/i> is eerie\u2014as the collection\u2019s title might suggest\u2014the eeriest is the one about three babysitters. \u201cThree women,\u201d the narrator remembers, then corrects herself: \u201cthree girls,\u201d though all older than she was. As a child she thought of them as the pretty one and the wicked one, both of whom she loved, and the boring one, whom she disdained. When she grew up and went to college, she found she couldn\u2019t really see her own body except when she compared herself to other girls\u2014whether \u201cugly or pretty, beautiful or gorgeous, if she was plain but sweet, if I wanted to look like her or not.\u201d Boys, too, she evaluated by proxy: if his girlfriend was pretty, he was desirable. <\/span>What she didn’t know was that, at the same stage of girlhood, her three original models were already vanishing into women\u2014defined no longer by their own prettiness, wickedness, or dullness, but by the common objectification of their bodies, the varieties of violence done to them, and their differing abilities to stand it.\u00a0<\/span><\/p>\n

\u2014Jane Breakell, development director<\/strong><\/p>\n

<\/p>\n

I don\u2019t scare easily, but the Latvian artist Julia Soboleva\u2019s <\/span>I have found the light in the darkness<\/span><\/i><\/a> terrified me. In her monograph, which features paintings and collages made of old photographs, Soboleva conjures up an eerie underworld inhabited by birdlike creatures. In one image, a group of weeping doctors with bird heads gather around a surgical table and use pliers to operate on a bleeding human leg. In another, two creatures carry a dead body on a stretcher while a third one watches, smiling. But what\u2019s most disturbing about the book is how, at times, these hybrid animals seem ordinary, even human. They give birth, dance in the park, make out, and meditate; they pose for pictures with their loved ones, and they seem happy. Soboleva\u2019s rendering of this ghostly world in images is so clear that it\u2019s as if these strange creatures have always lived right beneath our feet, and she is finally allowing us to see them. <\/span><\/p>\n

\u2014Clarissa Fragoso Pinheiro, intern<\/strong><\/p>\n

Here is something you can do if you\u2019re feeling bad and you want to feel not exactly worse but are not quite ready to feel better: watch all three <\/span>Godfather <\/span><\/i>movies back-to-back in a forty-eight-hour window. Then you can watch some other movies, more or less in descending order of quality\u2014<\/span>The Departed<\/span><\/i>,<\/span> The <\/span>Friends of Eddie Coyle<\/span><\/em>,<\/span>\u00a0<\/span>Mystic River<\/span><\/i>, <\/span>and, if you can get it on DVD, <\/span>State of<\/span><\/i> Grace<\/em>, <\/span>starring Sean Penn. People often ask me why I won\u2019t watch anything but mob movies and I have never had a good answer beyond my basic, mostly uninterrogated preference. But part of what I like, I think, is watching the magnification of everything horrible about being in a family or any kind of network of loyalty, beyond the point of the absurd, beyond the point of the grotesque, far beyond the pale.<\/span><\/p>\n

\u2014Sophie Haigney, web editor<\/strong><\/p>\n

I am always searching for terrifying but artful films without too much body horror. I have never been able to finish David Cronenberg\u2019s <\/span>Videodrome<\/span><\/i> or <\/span>Crimes of the Future<\/span><\/i> (too gory), but I had my eyes glued to the screen during his lesser-known, less gross <\/span>Dead Ringers <\/span><\/i>(1988). In this psychological thriller, Cronenberg offers a chilling contribution to the long line of art about twins and doppelg\u00e4ngers, like Dostoevsky\u2019s <\/span>The Double <\/span><\/i>and David Swift\u2019s <\/span>The Parent Trap. <\/span><\/i>Based on the real lives of Stewart and Cyril Marcus, Dead Ringers<\/em> follows Beverly and Elliot, identical twins who share a gynecological practice, an apartment, and sometimes even lovers. Beverly, who is awkward, warm, and introverted, does the medical work at the practice; Elliot, suave, cold, and social, charms his female colleagues and strangers. Jeremy Irons plays them both, calibrating their tortured personalities so brilliantly that with no other clues you can tell from just his posture and gaze which brother is which. They frequently trade places with each other, a calculated deception which works perfectly until they both become addicted to prescription pills and lose control over their performances. As their dissolution accelerates, Cronenberg oscillates between the two settings in which each brother is most in his element\u2014a bleak Reagan-era workspace and lush bourgeois parties\u2014with increasing frequency. The first time I watched the film, I cried in front of all my friends and was unable to articulate why. The second time I watched it, I realized, to my horror, that I identified with both of the brothers. The brilliance of the film is that the twins have split themselves into the public and private identities of a single person. They are caught in a dance, performing until the point of collapse.<\/span><\/p>\n

\u2014Campbell Campbell, intern<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

On a creepy babysitter story by Meng Jin, Julia Soboleva\u2019s art, David Cronenberg, and mob movies.<\/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":[4550,67827,1146,68558,5569],"class_list":["post-162181","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-david-cronenberg","tag-featured","tag-halloween","tag-meng-jin","tag-the-godfather"],"acf":[],"yoast_head":"\nStaff Picks: Scary Stories by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 28, 2022 \u2013 On a creepy babysitter story by Meng Jin, Julia Soboleva\u2019s art, David Cronenberg, and mob movies.\" \/>\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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