{"id":75844,"date":"2014-08-22T19:15:59","date_gmt":"2014-08-22T23:15:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=75844"},"modified":"2014-08-23T10:18:14","modified_gmt":"2014-08-23T14:18:14","slug":"staff-picks-moo-maine-malfeasance","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/08\/22\/staff-picks-moo-maine-malfeasance\/","title":{"rendered":"Staff Picks: Moo<\/i>, Maine, Malfeasance"},"content":{"rendered":"
\"collection_images-1-2-e1408477542169\"<\/a>

This collage helped solve a crime. Robert Rauschenberg, Collection<\/i>, 1954-55; image via the New York Observer<\/i>.<\/p><\/div>\n

\u201cFrom the outside it was clear that the building known generally as \u2018Old Meats\u2019 had eased under the hegemony of the horticulture department.\u201d So begins Jane Smiley\u2019s 1995 campus satire, Moo<\/a><\/em>; from that first sentence I knew it was the only book I needed for the weekend. It had that tone\u2014that late-century Midwestern tone. You hear it in Jonathan Franzen\u2019s first two novels, and in Infinite Jest<\/em>, too.\u00a0It\u2019s the sound of an omniscient narrator who is sophisticated and slightly wry and who, at the same time, belongs to a safe, stable, neighborly<\/em> community, the sort of place where things can be \u201cknown generally.\u201d Maybe because I grew up on the East Coast, in a city\u2014or maybe just because it is so manifestly pre-Internet<\/em>\u2014that kind of sentence is as soothing and inviting to me as \u201cOnce upon a time.\u201d And Moo<\/em> lived up to its promise. \u2014Lorin Stein<\/strong><\/p>\n

What happens when myth becomes reality? For the residents around Maine\u2019s North Pond, a legend about a hermit became strikingly less legendary when the hermit, a man by the name of Christopher Knight, was found and arrested last year during a\u00a0burglary\u00a0attempt. For twenty-seven years, Knight had lived in the woods of Maine in a tent, never communicating with the outside world (except once, when he passed a hiker). \u201cSilence is to me normal, comfortable,\u201d he tells Mike Finkel, a journalist for GQ<\/em><\/a>.\u00a0\u201cI\u2019m not used to seeing people\u2019s faces. There\u2019s too much information there.\u201d What\u2019s remarkable about Knight\u2019s story is that there wasn\u2019t any particular reason he chose to disappear. He merely started driving one day and didn\u2019t stop until he came across his camp in the woods. \u201cI found a place where I was content.\u201d Thoreau couldn\u2019t have summed it up better himself. \u2014Justin Alvarez<\/strong><\/p>\n

Sixty years ago in Williamsburg, Brooklyn, the NYPD pinned a crime spree on four innocent men. What else is new, you might say. Well, a researcher has brought the malfeasance to light, and a collage by Robert Rauschenberg helped solve the mystery<\/a>. Specifically, it was \u201cCollection,\u201d which Rauschenberg composed in the mid-fifties from newspapers containing accounts of the crimes. The Observer<\/em> tells the story, which is full of crooked cops and falsified documents and botched autopsies and noirish goings-on under the Williamsburg Bridge; Rauschenberg\u2019s involvement, however peripheral, makes the whole thing impressively surreal. \u2014Dan Piepenbring<\/strong><\/p>\n

Many clich\u00e9d things can be said of the stories in Justin Taylor\u2019s new collection, Flings<\/a><\/em>. They\u2019re\u00a0hilarious and heartbreaking; there\u2019s an existential loneliness to their characters; there\u2019s a stark beauty in their sentences. But these sentiments smooth over the messy truths that Taylor works with\u2014he\u2019s managed to gather up all the confusion, repressed aggression, and misplaced acceptance of growing up in the nineties and becoming a young adult in the twenty-first century. Taylor isn\u2019t afraid to place his characters squarely in our place and time. The narrator of \u201cSungold\u201d manipulates his boss\u2014a coked-up, alcoholic, trust-funded man-baby who owns an unnamed pizza chain\u2014into not being so much of a fuck-up. In \u201cMike\u2019s Song,\u201d a brother and sister and their divorced father attend a Phish concert together. But behind his contemporary premises, Taylor is practicing a brand of acute, oblique realism that stretches back to Carver and Yates and even to Sherwood Anderson, in which events act as triggers for memories that are the real story. \u2014Andrew Jimenez<\/strong> <\/p>\n

It\u2019s back-to-school time again, and there\u2019s probably no more effective way to burden these precious last days of summer with anxiety dreams than to delve into a campus novel. And yet, I have no regrets about picking up Kingsley Amis\u2019s Lucky Jim<\/a><\/em>, a classic about a young lecturer at a provincial English university who\u2019s not too ambitious\u2014he just wants not to be fired and also for this one girl to like him. Lucky Jim<\/em> sends up the boredom and futility of midcentury academic pretension; the sour little cover illustration from Eric Hanson<\/a> on the NYRB Classics edition is a nice bonus. In a characteristically witty passage, Amis unpacks the doublespeak of the phrase \u201cCan I have a word with you?\u201d among colleagues: \u201cThis was the most dreadful of all summonses \u2026 Intellectually, Dixon could conceive of such a request leading to praise for work done on indexing Welch\u2019s notes for his book, to the offer of a staff post on Medium Aevum<\/em>, to an invitation to an indecent house party, but emotionally and physically he was half-throttled by the certainty of nastiness.\u201d \u2014Chantal McStay<\/strong><\/p>\n

The popularity of the ironic urban musical has soared since its conception around the 1960s. Smash hits such as Guys and Dolls<\/em> and Chicago<\/em>, plus more recent shows like Hedwig and the Angry Inch<\/em> and Urinetown<\/em>, have all deconstructed the traditional sincerity that characterized musical theater at the beginning of the twentieth century. But how do we look back at the simplistic and silly musicals that we used to know and love? \u201cI\u2019m not ironic, I\u2019m not very urban. I love trees. I hope I\u2019ll never stop loving them. Trees, green meadows \u2026 who cannot love them?\u201d That\u2019s Oscar Hammerstein II<\/a> defending the sentimentality of his lyrics with a Maria Von Trapp\u2013esque list of his favorite things. When Hammerstein died fifty-four years ago this month, Times Square and London\u2019s West End both went dark in tribute; the glitz and glamour of musical theater today provide the perfect backdrop for an ironic reaction, but keep them off and we see that, in Hammerstein\u2019s words, \u201cthe things we\u2019re sentimental about are the fundamental things in life.\u201d Love, death, conflict \u2026 trees. \u2014Helena Sutcliffe<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cFrom the outside it was clear that the building known generally as \u2018Old Meats\u2019 had eased under the hegemony of the horticulture department.\u201d So begins Jane Smiley\u2019s 1995 campus satire, Moo; from that first sentence I knew it was the only book I needed for the weekend. It had that tone\u2014that late-century Midwestern tone. You […]<\/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":[15080,2084,1885,120,15081,15082,6718],"class_list":["post-75844","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-christopher-knight","tag-jane-smiley","tag-justin-taylor","tag-kingsley-amis","tag-mike-finkel","tag-oscar-hammerstein-ii","tag-robert-rauschenberg"],"acf":[],"yoast_head":"\nThis Week\u2019s Staff Picks: Moo, Maine, Malfeasance<\/title>\n<meta name=\"description\" content=\"What we\u2019re loving this week, including Robert Rauschenberg\u2019s collage that solved a crime, the story of the last true hermit, and Jane Smiley\u2019s Midwestern tone.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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