{"id":164344,"date":"2023-06-02T11:40:05","date_gmt":"2023-06-02T15:40:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=164344"},"modified":"2023-06-09T10:56:26","modified_gmt":"2023-06-09T14:56:26","slug":"nam-le-nancy-lemann-recommend","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/06\/02\/nam-le-nancy-lemann-recommend\/","title":{"rendered":"Nam Le and Nancy Lemann Recommend"},"content":{"rendered":"
\"\"

Muhammad Ali and Joe Frazier, public domain, via Wikimedia Commons<\/a>.<\/p><\/div>\n

The pandemic seemed like a good time to read the ninety-odd novels of Balzac that comprise <\/span>The Human Comedy<\/span><\/i>. (Which you can get on your Kindle for ninety-nine cents, by the way.) I was definitely obsessed with Balzac in my first youth. Some lines and ideas of his were then emblazoned on my brain: the ruthless mastery an artist must have over his material to boldly cut and shape it; \u201cthe impetuous courage of the South;\u201d the \u201ctenacity of purpose which works miracles when it is single-minded.\u201d<\/span><\/p>\n

Once, in my first youth (I probably got the phrase \u201cfirst youth\u201d from Balzac), I was having dinner with my brother, Nick Lemann, and about a dozen of his friends, all journalists like him; I was sitting right smack in the middle of the table, and I was, as I recall it, the only girl. They kept talking about politics, of course, and I wasn\u2019t interested in politics at all and still know nothing about them, so eventually I fished out a Balzac novel from my purse and started pointedly reading it in the middle of dinner at the table, amid their conversation. It was like saying, You can be interested in politics, I am interested in Balzac.\u00a0<\/span><\/p>\n

I have no regrets about it. I was making a point! The scene is emblazoned on my brain. It was the only way I could assert myself in that context! It got their attention.<\/span><\/p>\n

\u2014Nancy Lemann, author of \u201cDiary of Remorse<\/a>\u201d\u00a0<\/b><\/p>\n

Read Nancy Lemann on opera<\/a> and\u00a0<\/em>The Palace Papers<\/a>.<\/p>\n

There\u2019s a moment in the Ken Burns documentary series <\/span>Muhammad Ali<\/span><\/i> when\u2014ridiculous to say, four hours in and after however much (kinetic, absorbing) footage of boxing\u2014I was suddenly <\/span>shocked<\/span><\/i> by how hard Ali was punching\u2014and getting punched. This was the \u201cThrilla in Manila,\u201d the third and deciding fight between Ali and Joe Frazier, and it\u2019s maybe 120 degrees<\/span> in the ring under the TV lights and totally, unventilatedly humid under the metal roof and we\u2019re in the ninth round or so and both men are already swollen and sagging and staggering and then some new footage slides in, archival this time, of the two wearily trading punches\u2014<\/span>and in grainy sixteen-millimeter Technicolor it\u2019s as if a screen\u2019s been yanked off: you\u2019re riding Ali\u2019s shoulder (it’s shot, I find out later, from the apron) and everything you thought you knew about the speed and weight of punches at this level (even these subpar, exhausted punches), their impact against flesh and bone, needs to be scaled up about a thousand percent.<\/span><\/p>\n

What happened? How did this archival footage feel so real? It got me thinking: all the proximity offered by our modern cameras\u2014extreme zoom, hi-res and -frame rate, 360-degree angle capabilities\u2014works to a counterpurpose: it takes what mastery makes look easy, and it makes it look plausible. Or is that the deeper purpose? To make the average Joe believe that they too could do that\u2014take that punch, hit that forehand, or drive, or curveball?<\/span><\/p>\n

I was reminded of a <\/span>passage<\/span><\/a> by the great art critic Peter Schjeldahl, one of his last:<\/span><\/p>\n

One drunken night, a superb painter let me take a brush to a canvas that she said she was abandoning. I tried to continue a simple black stroke that she had started. The contrast between the controlled pressure of her touch and my flaccid smear shocked me, physically. It was like shaking hands with a small person who flips you across a room.<\/p><\/blockquote>\n

I love this shock, this awe. From someone whose whole life is art and artmaking. I love the idea that consummate skill remains inaccessible, even to the consummate expert looking at it\u2014looking for it. You\u2019re either in it or you\u2019re not.\u00a0<\/span><\/p>\n

So what about writing? Hard, right, to imagine any literary critic being judo-flipped by a superb writer in quite the same way? By the whole of a work, sure, or by an organized effect, but not by whatever\u2019s the technical equivalent of a painter executing a basic line (or a boxer a punch, or a violinist a note). A word is a word is a word: identical, replicable, accessible, whether put down by master or novice. And the putting down of words seems fairly shut off from the kind of sensory epiphany \u2014no way could I take that punch, control that brush or bow\u2014that might shake up your sense of the whole shebang.<\/span><\/p>\n

Still, writing takes no less skill than anything else. For me, the Ali footage was stunning access\u2014to what may as well have been God-mode\u2014and it shares with Schjeldahl\u2019s moment more than just a glimpse<\/span> behind the you think you know but you don’t know <\/em>of mastery in full flow. More than sheer proximity. It’s the sense of slipped embodiment\u2014the scare of it, limbic. What if, I wonder, we <\/span>could<\/span><\/i> access the mastery of the writer Alis out there? What if we could<\/span> shunt ourselves\u2014shock ourselves\u2014even for a moment, into a real embodiment of the intensity and risk and artistry of their talent-at-work? What would it feel like? What might it change? Would it matter? Should it?\u00a0<\/span><\/p>\n

We can only imagine.<\/span><\/p>\n

\u2014Nam Le, author of \u201cfrom<\/em> \u201836 Ways of Writing a Vietnamese Poem\u2019<\/a>\u00a0\u201d<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

On Balzac and archival footage of Muhammad Ali. <\/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":[9120,16445,1204,22654,4284,34787,883],"class_list":["post-164344","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-balzac","tag-boxing","tag-honore-de-balzac","tag-muhammad-ali","tag-nam-le","tag-nancy-lemann","tag-staff-picks"],"acf":[],"yoast_head":"\nNam Le and Nancy Lemann Recommend by The Paris Review<\/title>\n<meta name=\"description\" content=\"June 2, 2023 \u2013 On Balzac and archival footage of Muhammad Ali.\" \/>\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\/2023\/06\/02\/nam-le-nancy-lemann-recommend\/\" 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