{"id":76727,"date":"2014-09-12T18:06:02","date_gmt":"2014-09-12T22:06:02","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=76727"},"modified":"2019-03-04T16:09:13","modified_gmt":"2019-03-04T21:09:13","slug":"staff-picks-a-field-in-england-a-desert-in-the-mind","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/12\/staff-picks-a-field-in-england-a-desert-in-the-mind\/","title":{"rendered":"Staff Picks: A Field in England<\/i>, A Desert in the Mind"},"content":{"rendered":"

Like Nicole, I thrilled to Jed Perl\u2019s essay on Jeff Koons in the current New York Review of Books<\/em>. I also loved Dan Chiasson\u2019s review of Boyhood<\/em><\/a> in the same issue. In its quiet way this essay amounts to a defense of fiction in the age of social media: \u201cIf Boyhood<\/em> were a documentary, it would involve much more acting, with the subjects self-consciously shaping their on-screen personae (this happens, to an extent, in the Up<\/em> series). Here, there is nothing to be done: time itself is the real actor.\u201d Both Linklater\u2019s movie and Chiasson\u2019s review reminded me of another experiment with the longue dur\u00e9e<\/em>\u2014This Is Autism<\/a><\/em>, the 2011 concept album by Anders Danielsen Lie. American filmgoers know Lie as the brooding lead in Reprise<\/em> and Oslo, August 31<\/em>, but he is also an accomplished musician and composer. This Is Autism<\/em> is a song series built on compositions that Lie made as a kid (starting at the age of ten), then revisited as a grown-up; the music seems to have soaked up a childhood\u2019s worth of listening, mainly to parental vinyl in what Lie likes to call the \u201cautistic\u201d tradition, from Steely Dan and Keith Jarrett to Kiss.\u00a0\u2014Lorin Stein<\/strong><\/p>\n

For me, the description of Ben Wheatley\u2019s most recent film,\u00a0A Field in England<\/a><\/em>,\u00a0was instantly appealing: a handful of deserters from the English civil war traipse across a field; ensnared by an alchemist, they are forced to help him hunt for treasure supposedly buried in the field. Oh, and they\u2019re tripping on mushrooms. The film is\u00a0moody and spare\u2014it\u2019s shot in black-and-white\u2014and the mind-altering effect of the mushrooms adds another textural layer on the progressing horror, making it strange and abysmal. I kept turning to my husband to ask whether he understood what was going on, thinking that I was missing something. He\u2019d recite the plot, as he\u2019d comprehended it, and I realized that I\u2019d managed to grasp exactly what was going on. It\u2019s just that everything seemed, well, kinda trippy. The setting helps to circumscribe the film\u2019s disturbing events, a theater both expansive and enclosed.\u00a0(It makes sense that Wheatley\u2019s next film is an adaptation of J. G. Ballard\u2019s\u00a0High-Rise<\/em>.) When one character tells another that he cannot escape the field, he replies, \u201cThen I shall become it!\u201d \u2014Nicole Rudick<\/strong><\/p>\n

Last week I noted the excellent epigraph<\/a> to Roberto Bola\u00f1o\u2019s A Little Lumpen Novelita<\/a><\/em>, but I neglected to say that the novella itself is excellent, too: brisk, nervous, and curiously compassionate, with a conceit I can only describe as Bola\u00f1o-esque. A young woman loses her parents and, to make money, visits a blind, withered bodybuilder who likes to slather her in oil before sleeping with her. As usual, Bola\u00f1o\u2019s characters endure their miseries with unnerving equanimity; there\u2019s no amount of suffering, we\u2019re led to believe, that can\u2019t be shrugged at. And since this is Bola\u00f1o, the book has a surreal, tragicomic dream sequence. (As Jonathan Lethem pointed out in his review of 2666<\/em><\/a>, M.F.A. praxis maintains that dreams make for dull fiction\u2014digressive, freighted with easy symbolism\u2014but Bola\u00f1o writes them often and well, with skewed logic and foreboding mental detritus.) The narrator, Bianca, dreams of plodding through the desert with a heavy, white, possibly flightless parrot on her shoulder: \u201cHe weighed too much (ten pounds at least, he was a big parrot) to be carried for so long, but the parrot wouldn\u2019t budge, and I could hardly walk, I was shaking, my knees hurt, my legs, my thighs, my stomach, my neck, it was like having cancer, but also like coming\u2014coming endlessly and exhaustingly\u2014or like swallowing my eyes, my own eyes \u2026\u2009\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

Given that Chaucer provides us with the earliest example of the verb \u201cto twitter,\u201d it seems appropriate that his Twitter persona, \u201cChaucer Doth Tweet<\/a>,\u201d has now attracted an impressive 29,800 followers. And he\u2019s not the only medieval writer to venture into social media, with the Christian mystic Julian of Norwich<\/a>, the poet John Lydgate<\/a>,\u00a0and the author Sir Thomas Malory<\/a> all joining him in popularizing #MiddleEnglish. Perhaps the most surprising member of this group, though, is the late fourteenth-century mystic Margery Kempe, who has not one, but four<\/em> rival Twitter accounts. Best known for dictating The Book of Margery Kempe<\/a><\/em>, Margery spent most of her life repenting\u00a0for her sins\u00a0\u201cwyth gret wepyng and many teerys,\u201d being abused by her local community and abstaining from the \u201cabhomynabyl\u201d act of sex with her husband. While it may initially strike us as astonishing that a mystic visionary should have more official Twitter pages than Jay-Z, the online world has more in common with medieval Norfolk than you might think\u2014maybe Margery can no longer be imprisoned by angry priests, but slander and public shaming are still ever present on the web. As @tweetyng_teres puts it: \u201cdey s<\/a>eyn this creatur cryin \/ dey haytin #wepyn.\u201d<\/a> Plus \u00e7a change, it seems. \u2014Helena Sutcliffe
\n<\/strong><\/p>\n

Self-examination on film is difficult to pull off. Voice-over narration can be trying, and internal debates are difficult to externalize. But Marcelo Gomes\u2019s Once Upon a Time Ver\u00f4nica<\/a><\/em>, now playing at MoMA, walks on this tightrope, thanks in large part to a wonderful performance by Hermila Guedes as the title character. Ver\u00f4nica works as a psychiatric intern at an inner-city hospital in Recife, Brazil, and spends much of her free time taking care of her father. She\u2019s having a crisis, but she can\u2019t really say what it is. The movie\u2019s opaqueness can be frustrating at times; we never learn the details of her father\u2019s illness, for instance, and her love life is treated elliptically. But as the film illustrates, life and art don\u2019t always need to make sense. What I found bold about Ver\u00f4nica<\/em> is how it never cheats its main character for the sake of advancing a plot. It\u2019s like Veronica tells her father: \u201cWe spend our lives wasting it as we choose.\u201d\u00a0\u2014Justin Alvarez<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Like Nicole, I thrilled to Jed Perl\u2019s essay on Jeff Koons in the current New York Review of Books. I also loved Dan Chiasson\u2019s review of Boyhood in the same issue. In its quiet way this essay amounts to a defense of fiction in the age of social media: \u201cIf Boyhood were a documentary, it […]<\/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":[15296,12350,14592,280,15299,15298,14562,15297,126],"class_list":["post-76727","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-anders-dnaielsen-lie","tag-ben-wheatley","tag-boyhood","tag-dan-chiasson","tag-margery-kempe","tag-middle-english","tag-richard-linklater","tag-robert-bolano","tag-twitter"],"acf":[],"yoast_head":"\nStaff Picks: A Field in England, A Desert in the Mind<\/title>\n<meta name=\"description\" content=\"What the Paris Review staff is enjoying this week, including Ben Wheatley\u2019s most recent film, Margery Kempe\u2019s Twitter presence, and experiments with the longue dur\u00e9e.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/12\/staff-picks-a-field-in-england-a-desert-in-the-mind\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: A Field in England, A Desert in the Mind by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"September 12, 2014 \u2013 Like Nicole, I thrilled to Jed Perl\u2019s essay on Jeff Koons in the current New York Review of Books. 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