{"id":56378,"date":"2013-07-19T13:50:11","date_gmt":"2013-07-19T17:50:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=56378"},"modified":"2019-01-06T13:32:58","modified_gmt":"2019-01-06T18:32:58","slug":"what-were-loving-psycho-biddies-illusions-mtv","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/19\/what-were-loving-psycho-biddies-illusions-mtv\/","title":{"rendered":"What We\u2019re Loving: Psycho-Biddies, Illusions, MTV"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p>It\u2019s hard to read in a heat wave, but the July issue of <a href=\"http:\/\/asymptotejournal.com\/index.php\" target=\"_blank\" rel=\"noopener\"><i>Asymptote<\/i><\/a> is so absorbing I hardly notice my sweat drops hitting the keyboard. Even more impressive than the diversity of things translated\u2014book reviews in Urdu, fiction in Bengali, poetry in Faroese\u2014is their quality. I\u2019ve especially enjoyed the excerpt from <i>Operation Massacre<\/i>, a <i>novela negra<\/i> by the great Argentinian writer Rodolfo Walsh, and the interview with David Mitchell about his translation of a memoir by Naoki Higashida, an autistic Japanese thirteen-year-old. Here is Mitchell on the misery of translation: \u201cAs a writer I can be bad, but I can\u2019t be wrong.\u00a0A translator can be good, but can never be right.\u201d <strong>\u2014Robyn Creswell<\/strong><\/p>\n<p>I usually behave at museums, but last weekend, at \u201c<a href=\"http:\/\/www.metmuseum.org\/exhibitions\/listings\/2013\/ken-price\" target=\"_blank\" rel=\"noopener\">Ken Price Sculpture: A Retrospective<\/a>,\u201d currently at the Met, the guards were just waiting for my friend and me to leave. A number of the amorphous, neon, strangely suggestive ceramics for which Price is particularly known appeared to have small windows carved out of their exteriors to reveal dark, hollow interiors (see, for example, Price\u2019s <a href=\"http:\/\/www.metmuseum.org\/%7E\/media\/Images\/Exhibitions\/2013\/Ken%20Price\/ken-price_featured.ashx?mw=481\" target=\"_blank\" rel=\"noopener\"><i>Pastel<\/i><\/a>). But upon closer examination, it became difficult to tell whether the windows truly exposed new space, or whether they were simply painted on\u2014perfectly executed optical illusions. Clearly, the only option was to get even closer. This is not allowed. Repeat offenses were unavoidable, though; I wanted an answer! The sculptures gleamed so! I felt taunted. A definitive answer could not be determined before we were ultimately shooed away. A <a href=\"http:\/\/www.drawingcenter.org\/en\/drawingcenter\/5\/exhibitions\/9\/upcoming\/116\/ken-price\/\" target=\"_blank\" rel=\"noopener\">partner exhibition of Price\u2019s work, at the Drawing Center<\/a>, which I hope to see this weekend, consists only of works on paper; it will be easier to be better there. <strong>\u2014Clare Fentress<\/strong> <!--more--><\/p>\n<p>The sweltering temperatures the East Coast is currently experiencing created the perfect environment for Monday\u2019s screening of <i>Hush\u2026 Hush, Sweet Charlotte<\/i> at <a href=\"http:\/\/www.bryantpark.org\/plan-your-visit\/filmfestival.html\" target=\"_blank\" rel=\"noopener\">Bryant Park\u2019s Summer Film Festival<\/a>. A tale of murder, mayhem, and deceit, <i>Hush\u2026 Hush<\/i> is just what you would expect from the \u201cpsycho-biddy\u201d genre of sixties and seventies (depending on your preference, also known as \u201chagsploitation,\u201d \u201chag horror,\u201d or, my personal favorite, \u201cGrand Dame Guignol\u201d). While a relief from the heat arrives this weekend, how about you crank up the temperature indoors with a \u201cpsycho-biddy\u201d marathon of your own: <i>Hush\u2026 Hush<\/i>\u2019s predecessor, <i>What Ever Happened to Baby Jane?<\/i>, William Castle\u2019s <i>Strait-Jacket<\/i>, Roger Corman\u2019s favorite <i>Bloody Mama<\/i>, or simply bow down to Geraldine Page\u2019s terrifying turn in <i>What Ever Happened to Aunt Alice? <\/i>When talking of her neighbor, Page\u2019s Claire Marrable remarks, \u201cShe\u2019s like crabgrass\u2013never really quelled\u2013only cropping up secretly and victoriously in another spot.\u201d Amen. <strong>\u2014Justin Alvarez<\/strong><\/p>\n<p>I added <a href=\"http:\/\/www.indiebound.org\/book\/9780307388681?aff=theparisreview\" target=\"_blank\" rel=\"noopener\"><em>The Selected Essays of Gore Vidal<\/em><\/a> to my ever-growing TBR list after reading through his <a href=\"https:\/\/www.theparisreview.org\/interviews\/3917\/the-art-of-fiction-no-50-gore-vidal\">Art of Fiction<\/a> interview for our Fall 1974 issue; the book begins with a harsh analysis of the state of literature in the 1940s and continues with a piece claiming that the best sellers of May 1973 are essentially just regurgitations of popular movies. Although this collection may include some dated viewpoints, I\u2019m drawn to Vidal\u2019s unflagging, and often brutal, honesty. <strong>\u2014Ellen Duffer<\/strong><\/p>\n<p>I went to the beach last weekend toting a monograph on Rousseau, but it quickly became clear that I was ridiculous. (Luckily there was a little book and magazine exchange by the snack bar and I was able to find an old <em>InStyle<\/em>.) The next day, I asked <a href=\"http:\/\/bookhampton.com\/\" target=\"_blank\" rel=\"noopener\">BookHampton<\/a>\u2019s master-recommender Kim for some interesting-but-fun nonfiction, and <a href=\"http:\/\/www.indiebound.org\/book\/9780525952305?aff=theparisreview\" target=\"_blank\" rel=\"noopener\"><em>I Want My MTV: The Uncensored Story of the Music Video Revolution <\/em><\/a>turned out to be <em>exactly<\/em> what I wanted. <strong>\u2014Sadie Stein<\/strong><\/p>\n<p>Since I\u2019ve started reading <a href=\"http:\/\/www.indiebound.org\/book\/9781400031672?aff=theparisreview\" target=\"_blank\" rel=\"noopener\"><i>Yoga for People Who Can\u2019t Be Bothered to Do It<\/i><\/a>, more than one stranger has tapped me on the shoulder to say, \u201cThat\u2019s me! I can\u2019t be bothered!\u201d It sounds odd in a not-British accent, but it\u2019s an odd phrase in general, more passive than \u201cI don\u2019t care\u201d or \u201cI could care less.\u201d In the book, to do something is to bother to do something, so every action is, by definition, an annoyance. That said, Geoff Dyer annoys us very eloquently: \u201cPessoa was right \u2026 Frank O\u2019Hara was right \u2026 Auden got that right \u2026 \u2018Goethe put it neatly: \/ no one cares to watch \/ the loveliest sunset after \/ quarter of an hour.\u2019\u201d In what is,\u00a0essentially, a postcolonial travel narrative, Dyer both makes us aware of his privileged status as a white, heterosexual male and of how little that means: he is a completely relatable guide, at the mercy of a rapidly globalizing world and his own maddeningly circular thought process. Best of all, he is, as always, hilarious.\u00a0<strong>\u2014Nikkitha Bakshani<\/strong><\/p>\n<p><a href=\"http:\/\/www.amazon.com\/gp\/product\/155597631X\/ref=as_li_tf_tl?ie=UTF8&amp;camp=1789&amp;creative=9325&amp;creativeASIN=155597631X&amp;linkCode=as2&amp;tag=theparrev0f-20\" target=\"_blank\" rel=\"noopener\"><em>Spectacle<\/em><\/a> is a new collection of short stories from Graywolf Press. Susan Steinberg writes stream-of-consciousness narratives that refuse to follow typical storytelling structures, choosing instead to rely on flashbacks almost as often as she employs the present-tense scene. Her characters are haunted and frustrated and speak to the reader in short, defensive sentences, always struggling to build excuses in worlds that always seek to lay blame and take credit. <strong>\u2014E.D.<\/strong><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; It\u2019s hard to read in a heat wave, but the July issue of Asymptote is so absorbing I hardly notice my sweat drops hitting the keyboard. Even more impressive than the diversity of things translated\u2014book reviews in Urdu, fiction in Bengali, poetry in Faroese\u2014is their quality. I\u2019ve especially enjoyed the excerpt from Operation Massacre, [&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":[4149,1761,4509,11420,11419,11421,11418,7836,501],"class_list":["post-56378","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-asymptote","tag-geoff-dyer","tag-gore-vidal","tag-grand-dame-guignol","tag-hag-horror","tag-ken-price","tag-psycho-biddy","tag-roger-corman","tag-susan-sontag"],"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: Psycho-Biddies, Illusions, MTV by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 19, 2013 \u2013 &nbsp; It\u2019s hard to read in a heat wave, but the July issue of Asymptote is so absorbing I hardly notice my sweat drops hitting the keyboard. 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