{"id":7705,"date":"2010-11-12T15:31:42","date_gmt":"2010-11-12T20:31:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=7705"},"modified":"2010-11-14T09:22:15","modified_gmt":"2010-11-14T14:22:15","slug":"staff-picks-mahmoud-darwish-neutral-milk-hotel","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2010\/11\/12\/staff-picks-mahmoud-darwish-neutral-milk-hotel\/","title":{"rendered":"Staff Picks: Mahmoud Darwish, Neutral Milk Hotel"},"content":{"rendered":"
\"\"

Photograph by Amarjit Chandan.<\/p><\/div>\n

Journal of an Ordinary Grief<\/a><\/em>, by the late Palestinian poet Mahmoud Darwish, is a mixture of memoir, history, dream dialogue, and political polemic. Originally published in Arabic in 1973, it has now been translated for the first time into English by Ibrahim Muhawi (who also translated Darwish\u2019s genre-bending memoir of the Beirut war, Memory for Forgetfulness<\/a><\/em>). Darwish\u2019s prose is a miraculous, quicksilvery substance, slipping from lyricism to analysis to Beckettian humor in the space of a paragraph. His subject is Palestinian life under occupation, and this is one of those rare works able to register the complexities of that experience while also being politically and artistically uncompromising. \u2014Robyn Creswell<\/strong><\/p>\n

This week I read my favorite essay ever on (what else?) Michel Houellebecq. It\u2019s by Ben Jeffrey, and it can be found in The Point<\/a><\/em>, a Chicago magazine devoted to literary and cultural criticism. I just took out a two-year subscription. \u2014Lorin Stein<\/strong><\/p>\n

I picked up Montauk<\/a><\/em>, the slim novel by Max Frisch<\/a>, at the recommendation of a young writer. I\u2019m now obsessed. Frisch\u2019s writing has a way of sticking in my head, and, I\u2019ve discovered, slipping into my dreams. \u2014Thessaly La Force<\/strong><\/p>\n

\n
\nNoting that Neutral Milk Hotel\u2019s In the Aeroplane Over the Sea<\/em> is one of the great albums of the nineties is generally about as controversial as noting the importance of oxygen in human respiration. What\u2019s amazing, though, is how the album has lost none of its immediacy or raw beauty twelve years after its release. By way of contrast, some of the other monuments of nineties indie rock\u2014Pavement\u2019s Slanted and Enchanted<\/em>, Rodan\u2019s Rusty<\/em>, Superchunk\u2019s On the Mouth (insert your own here)<\/em>\u2014are still exceptional records, but they bear the mark of their time. In some respects, this is how it should be. But In the Aeroplane Over the Sea<\/em> is a different case altogether. Anne Frank\u2019s ghost haunts the record, but the real story is how Jeff Mangum\u2019s utterly strange poetry (\u201cking of carrot flowers,\u201d anyone?) is the perfect language for the fleshy, sticky, ashy, and ultimately wonderous side of intimate experience. Because, still today, how better to describe that moment where you’ve woken smiling next to your wife\/husband\/girlfriend\/boyfriend? Listen to Mangum sing \u201cWhat a beautiful face \/ I have found in this place \/ That is circling all round the sun.\u201d Then listen to the entire album, start to finish. What you\u2019re feeling isn\u2019t nostalgia. It\u2019s awe. \u2014Peter Conroy<\/strong><\/p>\n

If it dismays you that Pitchfork has evolved into the eight-hundred-pound gorilla of independent-music reviewing, try Dusted<\/a>. The music selected for review is more eclectic; numerical ratings\u2014those juvenile and specious things\u2014are avoided; and the temptation to posture and preen, ever-present for tastemakers like Pitchfork, goes happily unfelt, as Dusted largely flies under the radar. Start with this recent review<\/a> (and sample track) of a solo lute record. \u2014Mark de Silva<\/strong><\/p>\n

Read Suzanne Mozes\u2019s sinister piece<\/a> in New York Magazine<\/em> about Full Fathom Five, a new publishing venture created by James Frey. Frey believes that after our appetite for Harry Potter<\/em> and Twilight<\/em> subsides, we\u2019ll need someone to fill the gap. And that someone should be him and a stable of poorly compensated and anonymous M.F.A. students. Frey\u2019s operation reminds me of Alloy Publishing, which was memorably documented<\/a> by Rebecca Mead in The New Yorker<\/em> last year. Except Full Fathom Five has less flair (Alloy: \u201cCould you do Chappaquiddick for kids?\u201d) and more depravity (Frey on Oprah: \u201cI should have never fucking apologized.\u201d) \u2014T. L.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Journal of an Ordinary Grief, by the late Palestinian poet Mahmoud Darwish, is a mixture of memoir, history, dream dialogue, and political polemic. Originally published in Arabic in 1973, it has now been translated for the first time into English by Ibrahim Muhawi (who also translated Darwish\u2019s genre-bending memoir of the Beirut war, Memory for […]<\/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":[1107,1325,1326,822,1324],"class_list":["post-7705","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-james-frey","tag-mahmoud-darwish","tag-max-frisch","tag-michel-houellebecq","tag-neutral-milk-hotel"],"acf":[],"yoast_head":"\nStaff Picks: Mahmoud Darwish, Neutral Milk Hotel by The Paris Review<\/title>\n<meta name=\"description\" content=\"November 12, 2010 \u2013 Journal of an Ordinary Grief, by the late Palestinian poet Mahmoud Darwish, is a mixture of memoir, history, dream dialogue, and political polemic.\" 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