{"id":77920,"date":"2014-10-10T19:25:03","date_gmt":"2014-10-10T23:25:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=77920"},"modified":"2014-10-12T12:23:56","modified_gmt":"2014-10-12T16:23:56","slug":"staff-picks-kids-tossing-guns-phenomenal-hard-ons","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/10\/10\/staff-picks-kids-tossing-guns-phenomenal-hard-ons\/","title":{"rendered":"Staff Picks: Kids Tossing Guns, Phenomenal Hard-ons"},"content":{"rendered":"
\"A-Life-Led-606x640\"<\/a>

Josh Dorman, A Life Led<\/i>, 2014, ink, acrylic and antique paper on panel, 60″ x 56.”<\/p><\/div>\n

Despite the fact that the workmen next door have been playing the catchiest pop songs from the past thirty years for a few days now, I managed to tune them out long enough to read Jon McNaught\u2019s Dockwood<\/a><\/em>, a book that, though spare in dialogue, is oddly focused on sound, or, more accurately, on a symphony of silence. The book comprises two comics stories set in the titular British town, a leafy, suburban sort of place that is settling into the early days of autumn and into what seems like a permanent state of dreamy twilight. The first story follows a man named Mark through his day as a kitchen porter at a nursing home. The opening pages of the book are soundless, save the munch <\/em>of a mouse eating a chip and tink <\/em>of\u00a0colliding hanging\u00a0straps on a bus. But the quiet of early morning is surprisingly vivid. It creates a rhythm of reading\u2014the pages are divided into tiny panels mixed in with larger ones\u2014and plunges you instantly into the narrative. The second story, about a boy delivering newspapers, works according to the same principles. It\u2019s a stunning effect. And McNaught, who is also a printmaker, makes each panel contemplate the smallest of life\u2019s details. \u2014Nicole Rudick<\/strong><\/p>\n

This Saturday is your last chance to see \u201cWhorled<\/a>,\u201d Josh Dorman\u2019s vast and imaginative solo show at Ryan Lee Gallery. Dorman paints vibrant, dreamlike landscapes and festoons them with found images: illustrations, fragments, and diagrams from old textbooks and catalogs,\u00a0all of them from the seemingly prelapsarian period before photography, and all carefully (though still jarringly) collaged into the paintings. Parades of flora and fauna coexist with kids tossing guns; lakes are made of hammers, mountains grow from maps. You\u2019d expect all this to devolve into chaos, a kind of jackdaw\u2019s nest, but Dorman\u2019s compositions are precise, even orderly, which makes them all the more uncanny\u2014as beautiful as they are, the paintings evoke a state of basic contradiction that has a way of getting under your skin. \u2014Dan Piepenbring<\/strong><\/p>\n

Even if it\u2019s only an hour and forty minutes, Lisandro Alonso\u2019s Jauja<\/em>\u00a0was one of the most difficult films I\u2019ve sat through, and I\u2019ve survived everything from\u00a0S\u00e1t\u00e1ntang\u00f3<\/em>\u00a0to\u00a0Snakes on a Plane<\/em>. Moving at a glacial pace, with a plot as complicated as Waiting for Godot<\/em>\u2019s, the film follows the Danish surveyor Dinesen in nineteenth-century Patagonia as he tries to find his missing daughter in the otherworldly landscape. In long, carefully composed takes, Alonso declares his commitment to a minimalist cinema, one that blends narrative with documentary; the film is more about Dinesen\u2019s relationship with the landscape itself than any miraculous reunion with his daughter. I walked out of the screening completely perplexed by the experience, but since then I haven\u2019t been able to shake the film. It\u2019s like a dream you hope to revisit until some sort of answer reveals itself. \u2014Justin Alvarez
<\/strong><\/p>\n

This week\u2019s\u00a0New Yorker<\/em>\u00a0includes \u201cScheherazade<\/a>,\u201d a gorgeous new story by Haruki Murakami with quiet undercurrents of the fantastic. Murakami writes of the intimacy between a housebound man, Nobutaka Habara, and his caregiver. Though Habara doesn\u2019t seem to suffer from any ailment in particular, he\u2019s always receiving the ministrations of Scheherazade, a woman he names after the queen in\u00a0One Thousand and One Nights<\/em>. She brings him provisions and takes him to bed, and then becomes\u00a0a\u00a0raconteur, telling him stories of lamprey eels or her preternatural youth, leaving Habara invested in her company but hyperaware of its mutability. Their relationship is resigned, mercurial, and that dynamic interests Murakami<\/a>: \u201cI occasionally think that, in our heart of hearts, we all may be seeking situations like this one\u2014where our free will doesn\u2019t apply and (almost) everything is determined by someone else, where each day must be lived according to the conditions that someone else has laid down \u2026 What interests me is trying to ferret out the identity that is so deftly concealed within the accumulation of such passive operations.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\n

If you happen to be looking for a short-story collection that features talking fish, immortal dogs, and girlfriends that turn into fat, hairy men at night, Etgar Keret\u2019s The Nimrod Flipout<\/a><\/em>\u00a0is your best bet, maybe your only bet. The Israeli author\u2019s particular brand of magic realism comprises equal parts normalcy and sleeping pill\u2013induced dream puddle. But underneath the phantasmagoria of these stories and their unusual titles (one story is called \u201cActually, I\u2019ve Had Some Phenomenal Hard-ons Lately\u201d) lies an entirely serious commentary that grapples with issues of emotional expression and individuality. The collection\u2019s deeper implications are charmingly concealed but are\u00a0definitely present\u2014just ask the fish. \u2014Alex Celia<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Despite the fact that the workmen next door have been playing the catchiest pop songs from the past thirty years for a few days now, I managed to tune them out long enough to read Jon McNaught\u2019s Dockwood, a book that, though spare in dialogue, is oddly focused on sound, or, more accurately, on a […]<\/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":[7315,2081,15623,15624,15625],"class_list":["post-77920","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-etgar-keret","tag-haruki-murakami","tag-jon-mcnaught","tag-josh-dorman","tag-lisandro-alonso"],"acf":[],"yoast_head":"\nKids Tossing Guns, Phenomenal Hard-ons<\/title>\n<meta name=\"description\" content=\"This week\u2019s staff picks, including a new story by Haruki Murakami, Josh Dorman at Ryan Lee Gallery, and 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