{"id":165728,"date":"2023-10-13T11:55:19","date_gmt":"2023-10-13T15:55:19","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=165728"},"modified":"2023-10-13T12:14:42","modified_gmt":"2023-10-13T16:14:42","slug":"green-ray-pepsi-cola-paramusicology","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/10\/13\/green-ray-pepsi-cola-paramusicology\/","title":{"rendered":"Green Ray, Pepsi-Cola, Paramusicology"},"content":{"rendered":"
\"\"

The Pepsi-Cola Sign in Gantry Plaza State Park. Kidfly182, CC BY-SA 4.0<\/a>, via Wikimedia Commons<\/a>.<\/p><\/div>\n

The<\/em> Pepsi-Cola Addict<\/em>, written in 1981 by the cryptophasic teenager June-Alison Gibbons<\/a>\u2014who refused most communication with anyone other than her twin sister, Jennifer\u2014is as idiosyncratic as one would expect. Preston Wildey-King\u2014the Pepsi-Cola addict of the book\u2019s title\u2014lives in a tenement with his mother and his sister in Malibu, California. How Preston developed an addiction to Pepsi is unknown. This omission begs interpretation\u2014readers must make their own projections onto Pepsi-Cola. Is it a sweet elixir that dulls the bitter taste of Preston\u2019s fleeting childhood? Or a symbol of American overconsumption and excess? Gibbons doesn\u2019t provide an answer, leaving us with a plot point\u00a0as perplexing as the addictions we see every day. Sometimes a can of Pepsi is just a can of Pepsi.\u00a0<\/strong><\/p>\n

\u2014Troy Schipdam, reader<\/strong><\/p>\n

\u00c9ric Rohmer\u2019s 1986 film The Green Ray <\/em>centers on a difficult person. We know that she\u2019s difficult because, during a conversation midway through, she insists, multiple times, \u201cI haven\u2019t been difficult at all.\u201d Her name is Delphine, and she\u2019s a Parisian secretary who broke up with her fianc\u00e9 two years earlier. While she craves human connection, she flees, sometimes literally, whenever it seems it might appear. In one of the film\u2019s best scenes, she runs away from people who have the gall to invite her to a nightclub. In another scene, she stops to read a sign on a lamppost that says, \u201cRetrouver le contact avec soi-m\u00eame et avec les autres. Groupes et s\u00e9ances individuelles.<\/em>\u201d (\u201cReconnect with others and yourself. Groups and private sessions.\u201d) She walks on.<\/p>\n

When a friend tells her she\u2019s sad, Delphine says, \u201cI\u2019m not sad.\u201d She sublimates her loneliness into an obsession with having a good summer vacation. As the film opens, Delphine learns that her holiday plans have been upended: she\u2019s been ditched by a friend who wants to travel with a new lover instead. \u201cThe three of us could go together,\u201d Delphine suggests. She\u2019s rebuffed. We soon see why: even when she\u2019s not a third wheel, she\u2019s hard to be around. A complainer who doesn\u2019t enjoy much of anything, she\u2019s resistant to offers of help and advice. When she learns that her sister and brother-in-law are going camping in Ireland, she asks her young niece, \u201cIt\u2019s very rainy. Does that scare you?\u201d At a dinner party, when the host has just served pork chops, she extols the virtues of vegetarianism.<\/p>\n

An acquaintance takes pity on Delphine and invites her along on a family vacation to Cherbourg, but that goes badly. She then goes on an increasingly disastrous series of trips and spends much of the film in tears. In North America, the film was first released as Summer<\/em>, but maybe it\u2019s more appropriate to watch it in fall. The story concludes as Delphine is finally heading home after her miserable peregrinations. As she arrives at the train station, there\u2019s a sense that she\u2019s getting older, that not only summer but also her best years have passed, that maybe the sun will set without her finding love again.<\/p>\n

But there\u2019s a chance something different will happen. The green ray of the title\u2014and of an eponymous Jules Verne novel that served as Rohmer\u2019s inspiration\u2014refers to an almost mystically elusive optical phenomenon. Under certain atmospheric conditions, in the last moments before it dips below the horizon, the setting sun can flash green. On one of her trips, Delphine overhears some older people discussing the plot of Verne\u2019s book. Its heroine never sees the green ray, but she \u201cmanages to understand her own feelings.\u201d Throughout the film, Delphine claims to know her feelings. She may believe that she\u2019s being vulnerable; she even cries in front of other people. But her self-pity prevents her from accessing true vulnerability. It\u2019s not until the very end of the film that she risks sharing her real feelings with another person.<\/p>\n

For years, I also confused self-pity with vulnerability, and I relate to the film. I love it not, though, for its relatability but because I find it so strikingly naturalistic. Rohmer purportedly encouraged his actors\u2014many of whom were friends and even family\u2014to improvise their dialogue. That authenticity, which I strive for in fiction, is what I think gives the film its luminosity. Even the green ray captured in the film\u2019s last shot is genuine; rather than create it in the studio, as producers wanted, Rohmer brought a photographer to the Canary Islands to capture the real thing.<\/p>\n

\u2014Alena Graedon, author of \u201cNo Changing<\/a>\u201d<\/strong><\/p>\n

I discovered the American Museum of Paramusicology<\/a> through attempts to find more information about the American composer and choreographer Julius Eastman, perhaps the most important artist of the late twentieth century in the United States, although people outside the art world don\u2019t know who he is. The site\/journal\/publishing concern\/archive is run by the musicologist and artist Matt Marble and hosts a range of materials\u2014books, recordings, scores, histories\u2014relating to music by composers whose work is inflected by esoteric spiritual or philosophical practice, among them Alice Coltrane, David Lynch, and Constance Demby. The site and its associated podcast, Secret Sound<\/em>, recently went subscription-only\u2014but I recommend the five dollars per month. Everything there is totally brilliant and humbling.<\/p>\n

\u2014Lucy Ives, Robert Gl\u00fcck’s interviewer for The Art of Fiction No. 260<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

A novel by June-Alison Gibbons, a film by Rohmer, a website archiving the work of esoteric composers.<\/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":[68728,10223,68727,67827,68726],"class_list":["post-165728","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-amateur-fiction","tag-eric-rohmer","tag-esotericism","tag-featured","tag-paramusicology"],"acf":[],"yoast_head":"\nGreen Ray, Pepsi-Cola, Paramusicology by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 13, 2023 \u2013 A novel by June-Alison Gibbons, a film by Rohmer, a website archiving the work of esoteric composers.\" \/>\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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