{"id":72043,"date":"2014-05-30T18:47:53","date_gmt":"2014-05-30T22:47:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=72043"},"modified":"2014-06-04T11:21:28","modified_gmt":"2014-06-04T15:21:28","slug":"what-were-loving-dallas-dubai-dublin","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/05\/30\/what-were-loving-dallas-dubai-dublin\/","title":{"rendered":"What We\u2019re Loving: Dallas, Dubai, Dublin"},"content":{"rendered":"

\"_MG_4904\"<\/a><\/p>\n

Three nights ago, the eminent record collector Chris King came by The Paris Review<\/em> loft to launch his new LP,\u00a0Alexis Zoumbas: A Lament for Epirus 1926\u20131928<\/a><\/em>.\u00a0King arrived with several armfuls of 78s, including Greco-Albanian dirges, a Ukrainian wedding dance, and rare sides by Richard \u201cRabbit\u201d Brown, Elvie Thomas, Am\u00e9d\u00e9e Ardoin, and others who have achieved a measure of posthumous renown on King\u2019s label, Angry Mom Records. As a house present, King gave the Review<\/em> eighteen test pressings of the Carter Family (\u201cfrom their most depressing period\u201d), but the song I can\u2019t get out of my head\u2014thanks to our associate editor, Stephen Hiltner, who whistled the first few bars this morning\u2014is\u00a0\u201cChasin\u2019 Rainbows,\u201d<\/a>\u00a0by the Dallas String Band. Listen at your peril. \u2014Lorin Stein<\/strong><\/p>\n

At a conference on Web design earlier this month, Maciej Ceglowski gave a talk called \u201cThe Internet with a Human Face<\/a>,\u201d a cogent look at the bizarre double lives the Internet forces us to live, the havoc it\u2019s wrought on our concepts of privacy and identity. \u201cA lot of what\u2019s wrong with the Internet has to do with memory,\u201d he says. \u201cThe Internet somehow contrives to remember too much and too little at the same time, and it maps poorly on our concepts of how memory should work.\u201d Ceglowski runs pinboard.in, a bookmarking site. Unlike too many in the Silicon Valley set, he\u2019s entirely free of techno-utopianism, but he\u2019s not an alarmist or a fatalist, either. Rather, he\u2019s refreshingly clear-eyed about the state of technology and how we can improve it. \u201cI\u2019m tired of being scared of what the Web is going to look like tomorrow,\u201d he says. \u201cI realized how long it had been since I looked at a new technology with wonder, instead of an automatic feeling of dread.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

Dubliners<\/em> turns a hundred in June. \u201cThe Dead\u201d is a masterpiece, of course, but I think the best of the stories is \u201cAraby<\/a>,\u201d whose child protagonist experiences a kind of antirevelation\u2014one of the moments of adolescent wretchedness we all pass through to get to adulthood. The whole experience is conveyed in the twenty-four perfect words of the final sentence: \u201cGazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.\u201d \u2014Anna Heyward<\/strong><\/p>\n

When I think of the United Arab Emirates, I think of excess: artificial land shaped like a palm tree in Dubai, a certain Greenwich Village university cloned in downtown Abu Dhabi, and billion-dollar hotels. Reviewing Rowan Moore\u2019s Why We Build <\/em>in the New York Review of Books<\/em>, Martin Filler writes<\/a>, \u201cIn Dubai, the much-ballyhooed botanical symbol of a sheltering oasis gives way to a more mundane reality.\u201d Filler describes his working relationship with the commanding architect Zaha Hadid, who has recently come under scrutiny for her lack of concern for the working conditions of the stadium she designed for the 2022 Qatar World Cup. Are such conditions an architect\u2019s responsibility? More important, have we allowed architecture to reach a point where it\u2019s beyond moral consequence? \u2014Justin Alvarez <\/strong> <\/p>\n

So many memories of play from my childhood are wrapped up in a hammock that hung between two tulip trees in the backyard. I think not just of the hammock itself, but of all its imagined possibilities: a roof, a raft, a lean-to, a cloud. It\u2019s difficult to describe how this space serves as a cognitive landmark for me, but in 1958\u2019s The Poetics of Space<\/a><\/em>, Gaston Bachelard beautifully articulates this nuanced relationship between space and self. Poetics<\/em> is about the phenomenology of architecture. It explores intimate spaces in literature, using them to comment on the psychological impact of the places, particularly homes, that we inhabit. The book is full of charming, dreamy moments of insight; Bachelard describes how, in winter, the home becomes one\u2019s whole world: \u201cSnow, especially, reduces the exterior world to nothing rather too easily. It gives a single color to the entire universe which, with the one word, snow<\/em>, is both expressed and nullified for those who have found shelter.\u201d \u2014Chantal McStay<\/strong><\/p>\n

If you\u2019re nostalgic for Pemberley, try Amma Asante\u2019s new film, Belle<\/em>. Its heroine, Dido Elizabeth Belle, faces the moral dilemmas of courtship and marriage in an obtrusive social hierarchy. Here she echoes Jane Austen\u2019s Elizabeth Bennet, ushered into a tepid pool of aristocratic men\u2014but unlike Austen\u2019s heroines, Dido is half black. Belle<\/em> details the politics of the time with a powerful awareness and insight\u2014the role of women, class structure, and slavery are treated in equal measure, coupling these very real issues with a romance that would make Austen proud. \u2014Yasmin Roshanian<\/strong><\/p>\n

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

Three nights ago, the eminent record collector Chris King came by The Paris Review loft to launch his new LP,\u00a0Alexis Zoumbas: A Lament for Epirus 1926\u20131928.\u00a0King arrived with several armfuls of 78s, including Greco-Albanian dirges, a Ukrainian wedding dance, and rare sides by Richard \u201cRabbit\u201d Brown, Elvie Thomas, Am\u00e9d\u00e9e Ardoin, and others who have achieved […]<\/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":[14121,14127,14126,947,14122,14123,14124,9632,14125],"class_list":["post-72043","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-alexis-zoumbas","tag-amma-asante","tag-gaston-bachelard","tag-james-joyce","tag-maciej-ceglowski","tag-martin-filler","tag-rowan-moore","tag-the-carter-family","tag-zaha-hadid"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: Dallas, Dubai, Dublin<\/title>\n<meta name=\"description\" content=\"This week\u2019s staff picks, including \u201cThe Internet with a Human Face,\u201d the insolence of architecture, and Gaston Bachelard\u2019s \u201cThe Poetics of Space.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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