{"id":60958,"date":"2013-10-04T11:48:45","date_gmt":"2013-10-04T15:48:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=60958"},"modified":"2013-10-04T12:30:22","modified_gmt":"2013-10-04T16:30:22","slug":"what-were-loving-mysteries-horror-geography","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/10\/04\/what-were-loving-mysteries-horror-geography\/","title":{"rendered":"What We\u2019re Loving: Mysteries, Horror, Geography"},"content":{"rendered":"

\"Wicker_8large\"<\/a><\/p>\n

The late Joachim Fest was famous as an historian of the Nazi era. Among other books, he wrote the first German-language biography of Hilter and a biography of Hitler\u2019s architect, Albert Speer. Fest\u2019s own account of the Nazi years, Not I: Memoirs of a German Childhood<\/em>, will be published in English next February by Other Press,<\/a> and it tells a very different story: that of a strictly conservative, highly cultured family united in their opposition to the Nazi regime, then shattered by the war. The hero of Not I<\/em> is Fest\u2019s father, an educator who lost his job and brought the family under suspicion when he refused to join the Party, but Fest\u2019s portraits of his brothers, his mother, and his cousins\u2014and of himself as a teenage soldier and POW\u2014are equally vivid and full of pathos. \u2014Lorin Stein<\/strong><\/p>\n

In his Art of Fiction interview, Russell Banks<\/a> said, \u201cWith a novel it\u2019s like entering a huge mansion\u2014it doesn\u2019t matter where you come in, as long as you get in.\u201d I thought a lot about that statement as I read Keith Ridgway\u2019s Hawthorn & Child<\/em><\/a>, a mystery of a book presented as a novel, but one you could\u00a0just as easily call a story collection. What begins as a standard detective novel\u2014a man is shot from a vintage car\u2014soon transforms into a puzzle of fractured characters and narrative: a couple not good with words writes intimately to each other in a notebook, a man disappears for a month only to reappear with a manuscript on wolves. How should a novel function as a form? How much work should be expected of the reader to put all the pieces together? (I suggest multiple readings.) In the story \u201cRothko Eggs,\u201d a young woman describes Jackson Pollock\u2019s paintings as \u201clike the idea of having an idea, instead of having an idea.\u201d She could just as easily be describing this book. \u2014Justin Alvarez<\/strong> <\/p>\n

Death, so the cynics say, can be quite the career move for a writer. In the case of Elmore Leonard, it is unlikely that his sale numbers needed any help<\/a>. There were probably a number of morbid opportunists like myself, however, who spent the first weeks after his sad demise scouring the Internet for first editions. I felt really intelligent when I received an immaculate edition of Glitz<\/i> in the mail\u2014sixteen bucks for the original hardcover, with its awesome disco-accented lettering. Decidedly less triumphant was the feeling, a few days later, when La Brava<\/i> arrived sans dust jacket. I wrote a threatening e-mail to the vendor, but to no avail. (The prospect of a damning review on Amazon, it seems, doesn\u2019t scare the bejesus\u2014not to say the Bezos\u2014out of anyone anymore.) That\u2019s what I get for my materialism. Or for not quitting while I was ahead. \u2014Fritz Huber<\/strong><\/p>\n

When it was released in 1973, The Wicker Man<\/em> was cut down from its intended ninety-nine minutes to B-movie length. Needless to say, the bizarre mix of horror, pagan themes, and electro-folk still managed to achieve cult-film status\u2014it was simply too weird and too genuinely scary not to\u2014but it is still a treat to see one of the several restored versions, and even more so when it\u2019s on the big screen. The \u201cfinal cut\u201d<\/a> currently screening at the IFC Center is not, in fact, the longest iteration, but you get more old-religion antics, more Scottish scenery, and more of Paul Giovanni\u2019s truly strange score than in the original. Yes, The Wicker Man<\/em> is campy at times (think any part involving the obviously-dubbed Britt Ekland), it now has unfortunate Burning Man associations, and you can see that it was made on a shoestring (star Christopher Lee worked on the film for free). But as the abysmal Nic Cage remake shows, budget isn\u2019t everything: to my mind, there is no more frightening scene in movies than that final appointment with the wicker man. \u2014Sadie Stein<\/strong><\/p>\n

Eratosthenes, ancient Greece\u2019s most accomplished dilettante, invented geography\u2014both its Greek etymon and the discipline\u2014and along with moonlighting as head of the Library of Alexandria, he made one of the earliest and astoundingly accurate measurements of the earth\u2019s circumference. Ptolemy rejected Eratosthenes in favor of Posidonius of Rhodes\u2019s later and less accurate measurement while creating his map of the world, solidifying great distortions in maps for well over a millennium. In fact, that greatly slimmed circumference convinced Columbus to sail west for faster passage to the Indies, and the rest is history. Think about it: Why is<\/i> the world divided into latitude and longitude? Or meridians? Why did<\/i> Roman surveyors draw rather imaginative maps of the Empire? Those intrigued by the ancients\u2019 attempts to visualize and sometimes intentionally alter the lay of lands near and far will see the world in curious new ways at \u201cMeasuring and Mapping Space: Geographic Knowledge in Greco-Roman Antiquity<\/a>,\u201d opening today at NYU\u2019s Institute for the Study of the Ancient World. The exhibit has on display more than forty objects, manuscripts, and maps ranging from classical Greece and Rome through the Renaissance, as well as a robust interactive online gallery. Go for the maps, those strange and captivating maps. \u2014Adam Winters<\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The late Joachim Fest was famous as an historian of the Nazi era. Among other books, he wrote the first German-language biography of Hilter and a biography of Hitler\u2019s architect, Albert Speer. Fest\u2019s own account of the Nazi years, Not I: Memoirs of a German Childhood, will be published in English next February by Other […]<\/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":[2598,11973,11971,11972],"class_list":["post-60958","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-elmore-leonard","tag-eratosthenes","tag-joachim-fest","tag-keith-ridgway"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: Mysteries, Horror, Geography by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 4, 2013 \u2013 The late Joachim Fest was famous as an historian of the Nazi era. 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