{"id":50059,"date":"2013-04-05T11:54:36","date_gmt":"2013-04-05T15:54:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=50059"},"modified":"2013-04-05T12:08:44","modified_gmt":"2013-04-05T16:08:44","slug":"what-were-loving-smells-films-and-flames","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/04\/05\/what-were-loving-smells-films-and-flames\/","title":{"rendered":"What We\u2019re Loving: Smells, Films, and Flames"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/04\/9781439142004.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-50061\" alt=\"9781439142004\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/04\/9781439142004-198x300.jpg\" width=\"198\" height=\"300\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/04\/9781439142004-198x300.jpg 198w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/04\/9781439142004.jpg 661w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a>It is wrong to kvell, but according to both\u00a0<a href=\"http:\/\/www.lrb.co.uk\/v35\/n05\/adam-shatz\/black-not-noir\" target=\"_blank\">Adam Shatz<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.nybooks.com\/blogs\/nyrblog\/2013\/apr\/03\/egypt-raw-sonallah-ibrahim\/\" target=\"_blank\">Yasmine El Rashidi<\/a>,\u00a0our poetry editor, Robyn Creswell, has knocked it out of the park with his translation of Sonallah Ibrahim\u2019s modern Egyptian classic <a href=\"http:\/\/www.amazon.com\/gp\/product\/0811220362\/ref=as_li_tf_tl?ie=UTF8&#038;camp=1789&#038;creative=9325&#038;creativeASIN=0811220362&#038;linkCode=as2&#038;tag=theparrev0f-20\" target=\"_blank\"><em>That Smell and Notes from Prison<\/em><\/a>. Unlike writers better known in the West, says El Rashidi, Ibrahim \u201chas continuously reinvented the form and language he uses in his work, while probing deeply into the underlying tensions running through Egyptian society.\u00a0Creswell\u2019s new translation of the novel finally allows English language readers to appreciate these qualities \u2026\u00a0Despite the differences of syntax between Arabic and English, the translation retains the tone, the vocabulary, and the pared down and staccato rhythm of the original.\u201d We take her word for it. <strong>\u2014Lorin Stein<\/strong><\/p>\n<p>On paper, Sarah Polley\u2019s documentary\u00a0<em><a href=\"http:\/\/www.nfb.ca\/film\/stories_we_tell\/trailer\/stories_we_tell_trailer12\" target=\"_blank\">Stories We Tell<\/a>\u00a0<\/em>and Shane Carruth\u2019s\u00a0<em><a href=\"http:\/\/erbpfilm.com\/film\/upstreamcolor\" target=\"_blank\">Upstream Color<\/a><\/em>\u00a0could not be more different, but they made for a nice double feature this past weekend at New Directors\/New Films. Both films raise questions about identity and the ownership of memory. Both throw conventional narratives out the window. And when I walked out of each, not all my questions were answered, but maybe that\u2019s the point: life\u2019s complex, and some things unanswerable are still worth exploring. <strong>\u2014Justin Alvarez<\/strong><\/p>\n<p>In Lars Iyer\u2019s <a href=\"http:\/\/www.indiebound.org\/book\/9781612191829?aff=theparisreview\" target=\"_blank\"><em>Exodus<\/em><\/a>, the friendship between two minor academics, Lars and W., is founded not on shared interest but on a shared sense of failure, self-laceration, and gin. Together Lars and W. bemoan the state of the academy and the seeming impossibility of philosophy, but I laugh loudest when W. bemoans the state of Lars: \u201c\u2018The true and only virtue is to hate ourselves,\u2019 W. says, reading from his notebook. To hate ourselves: what a task! He\u2019ll begin with me, W. says. With hating me. Then he\u2019ll move on to hating what I\u2019ve made him become. What I\u2019ve been responsible for. Then&mdash;the last step&mdash;he will have to hate himself without reference to me at all.\u201d For even more Lars and W., also read\u00a0<i>Spurious<\/i>, the first book in Iyer\u2019s trilogy. <strong>\u2014Brenna Scheving<\/strong> <!--more--><\/p>\n<p>I only recently discovered\u00a0<a href=\"http:\/\/www.taleofthree.com\" target=\"_blank\"><i>A Tale of Three Cities<\/i><\/a>, a\u00a0European literary\/arts journal published out of London, Paris, and Berlin. Issue 2 is out this week; in the meantime, I\u2019ve been satisfying my hunger with updates on the Web site and the Facebook page, which inform of the most interesting literary happenings in London, Paris, and Berlin&mdash;events like the Book Club at Le Carmen in Paris.\u00a0<strong>\u2014Matthew Smith<\/strong><\/p>\n<p>At the Drawing Center this week for the opening of their show <a href=\"http:\/\/www.drawingcenter.org\/en\/drawingcenter\/5\/exhibitions\/9\/upcoming\/117\/giosetta-fioroni\/\" target=\"_blank\"><em>Giosetta Fioroni: L\u2019Argento<\/em><\/a>, I was wandering around the center\u2019s bookstore and unthinkingly pulled a title off the shelf. It ended my aimless browsing. <a href=\"http:\/\/www.amazon.com\/gp\/product\/1854374885\/ref=as_li_tf_tl?ie=UTF8&#038;camp=1789&#038;creative=9325&#038;creativeASIN=1854374885&#038;linkCode=as2&#038;tag=theparrev0f-20\" target=\"_blank\"><em>The Stage of Drawing: Gesture and Act<\/em><\/a> is the catalogue from a 2003 exhibition of the same name, a selection of drawings and prints from the Tate Collection that also showed at the Drawing Center. Without aiming to be comprehensive, it is a primer on the development of the medium over the past three hundred years, with works from William Blake, Eva Hesse, George Dance, Andy Warhol, and more than a hundred others. The book\u2019s delicacy emerges not just from intimate markings&mdash;a much broader range of art is found in these pages&mdash;but sensitive curation. <strong>&mdash;Clare Fentress<\/strong><\/p>\n<p>Meanwhile, over at <em>The New Yorker<\/em>, James Wood has written <a href=\"http:\/\/www.newyorker.com\/arts\/critics\/books\/2013\/04\/08\/130408crbo_books_wood\" target=\"_blank\">a rapturous review<\/a> of Rachel Kushner\u2019s novel <a href=\"http:\/\/www.indiebound.org\/book\/9781439142004?aff=theparisreview\" target=\"_blank\"><em>The Flamethrowers<\/em><\/a>, which had its debut in our Winter issue: \u201cIt ripples with stories, anecdotes, set-piece monologues, crafty egotistical tall tales, and hapless adventures: Kushner is never not telling a story.\u201d\u00a0Read the excerpt <a href=\"https:\/\/www.theparisreview.org\/fiction\/6187\/blanks-rachel-kushner\">here<\/a>, see <a href=\"https:\/\/www.theparisreview.org\/art-photography\/6197\/the-flamethrowers-rachel-kushner\">the art<\/a> that inspired the novel, or check out our <a href=\"https:\/\/www.theparisreview.org\/blog\/2013\/04\/03\/insurrection-an-interview-with-rachel-kushner\/\">Q&amp;A<\/a>. <strong>\u2014L.S.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It is wrong to kvell, but according to both\u00a0Adam Shatz\u00a0and\u00a0Yasmine El Rashidi,\u00a0our poetry editor, Robyn Creswell, has knocked it out of the park with his translation of Sonallah Ibrahim\u2019s modern Egyptian classic That Smell and Notes from Prison. Unlike writers better known in the West, says El Rashidi, Ibrahim \u201chas continuously reinvented the form and [&hellip;]<\/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":[8191,924,2284,9330,278,10572,10573,10267],"class_list":["post-50059","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-adam-shatz","tag-james-wood","tag-katherine-larson","tag-rachel-kushner","tag-robyn-creswell","tag-sarah-polley","tag-shane-carruth","tag-sonallah-ibrahim"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What We\u2019re Loving: Smells, Films, and Flames by The Paris Review<\/title>\n<meta name=\"description\" content=\"April 5, 2013 \u2013 It is wrong to kvell, 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