{"id":27478,"date":"2012-03-02T08:00:08","date_gmt":"2012-03-02T13:00:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=27478"},"modified":"2012-03-02T13:00:53","modified_gmt":"2012-03-02T18:00:53","slug":"staff-picks-henry-darger%e2%80%99s-room-shelley%e2%80%99s-ghost","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/03\/02\/staff-picks-henry-darger%e2%80%99s-room-shelley%e2%80%99s-ghost\/","title":{"rendered":"Staff Picks: Henry Darger\u2019s Room, Shelley\u2019s Ghost"},"content":{"rendered":"
\"\"<\/a>

Henry Darger, Study of a Vivian Girl with Doll<\/em>, mid-twentieth century, watercolor, carbon tracing, and pencil on paper, 12 x 9 inches. Courtesy of the American Folk Art Museum.<\/p><\/div>\n

\u201cThe dustbin of history was, to the revolutionary of the thirties, what Hell was to the Maine farmer. To fall out of history, to lose your grip upon its express train, to be buried in its graveyard\u2014the conflicting metaphors descriptive of that immolation recurred again and again. But who could have believed that it could happen to so many so young?\u201d So writes Murray Kempton in A Part of Our Time<\/em><\/a>, his series of biographical essays on radicals of the 1930s. First published in 1955, the essays have lost none of their sparkle, and as a great newspaperman (who just happened, sometimes, to write like Lytton Strachey) Kempton can dash off a portrait or render an absolute judgment or paint the entire sweep of the New Deal in a matter of column inches. \u2014Lorin Stein<\/strong><\/p>\n

I was at the New York branch of the Japanese bookstore\u00a0Kinokuniya over the weekend, perusing their extensive selection of art publications, and I came across the 2007 book Henry Darger\u2019s Room<\/a><\/em>. The outsider artist\u2019s work will be familiar to most people, but if you haven\u2019t seen images of his tiny Chicago apartment\u2014left intact for twenty-five years after his death and partially reassembled in the Intuit Museum<\/a>\u2014then have a look at this volume, by his former landlords. The book is somewhere between creepy and magical. \u2014Sadie Stein<\/strong><\/p>\n

The New York Public Library\u2019s exhibition \u201cShelley\u2019s Ghost\u201d<\/a> is a pleasant place to spend an hour after lunch if you happen to be in midtown. You can examine \u201cOde to the West Wind\u201d and \u201cOzymandias\u201d as well as Laurence Olivier\u2019s copy of The Cenci<\/em> (he once contemplated a production). There are also a few Shelleyean relics, some cute and some a little bizarre: the poet\u2019s gold-chased baby rattle, his Neapolitan guitar (see \u201cWith a Guitar, to Jane\u201d), and some fragments of skull that survived his cremation near Viareggio. \u2014Robyn Creswell<\/strong><\/p>\n

Angela Carter\u2019s\u00a0The Bloody Chamber<\/a>, <\/em>a collection of dark and sensual feminist fairy tales based on traditional legends, has me spellbound. \u2014Elizabeth Nelson<\/strong><\/p>\n

The entire collection of love letters between Robert Browning and Elizabeth Barrett Browning<\/a> were put online earlier this month. They aren\u2019t exactly tied in a pink ribbon, but they are fascinating to browse. \u2014Deirdre Foley-Mendelssohn<\/strong><\/p>\n

This Is Not a Film<\/em><\/a>, a collaboration between Iranian filmmakers Jafar Panahi and Mojtaba Mirtamhmasb, opened this week in New York. Made right before Panahi was sent to an Iranian prison on a six-year stint for antigovernment propaganda, the movie is a portrait of a filmmaker in crisis, a yawp over the roofs of the world. \u2014Josh Anderson<\/strong><\/p>\n

I\u2019m just saying: The Room<\/a><\/em> is playing this Saturday at Landmark Sunshine<\/a>. Get your spoons out.\u00a0\u2014S.S.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThe dustbin of history was, to the revolutionary of the thirties, what Hell was to the Maine farmer. To fall out of history, to lose your grip upon its express train, to be buried in its graveyard\u2014the conflicting metaphors descriptive of that immolation recurred again and again. But who could have believed that it could […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[6597,6591,6580,6581,6582,4746,6600,6583,6585,6590,6595,6601,6596,6598,6586,6587,6589,6592,6588,6584,6599],"class_list":["post-27478","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-a-part-of-our-times","tag-elizabeth-browning","tag-henry-darger","tag-henry-dargers-room","tag-intuit-museum","tag-iran","tag-jafar-panahi","tag-kinokuniya","tag-landmark-sunshine","tag-laurence-olivier","tag-lytton-strachey","tag-mojtaba-mirtamhmasb","tag-murray-kempton","tag-new-deal","tag-ode-to-the-west-wind","tag-ozymandias","tag-percy-bysshe-shelley","tag-robert-browning","tag-the-cenci","tag-the-room","tag-this-is-not-a-film"],"acf":[],"yoast_head":"\nStaff Picks: Henry Darger\u2019s Room, Shelley\u2019s Ghost by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 2, 2012 \u2013 \u201cThe dustbin of history was, to the revolutionary of the thirties, what Hell was to the Maine farmer. 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