{"id":79942,"date":"2014-11-21T19:21:49","date_gmt":"2014-11-22T00:21:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=79942"},"modified":"2019-04-02T13:07:04","modified_gmt":"2019-04-02T17:07:04","slug":"staff-picks-staircases-sister-mountains-self-help","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/11\/21\/staff-picks-staircases-sister-mountains-self-help\/","title":{"rendered":"Staff Picks: Staircases, Sister Mountains, Self-Help"},"content":{"rendered":"

In The Program Era<\/a><\/em>, Mark McGurl illuminated postwar American fiction\u2019s inextricable ties to universities and creative-writing programs; his new paper, \u201cThe Institution of Nothing<\/a>,\u201d undertakes a reading of David Foster Wallace in the framework of \u201cthe program,\u201d and it\u2019s one of the most thoughtful exegeses I\u2019ve found of Wallace, whose work has enjoyed no shortage of critical insight. (Remember Wyatt Mason on Oblivion<\/em><\/a>?) McGurl finds that the bulk of Wallace\u2019s writing is fixated on institutions\u2014it invokes them as a kind of safe harbor, a respite from the nihilism of the world at large. (This is borne out not just in his books but in his life, which he spent almost entirely in the thrall of institutions of higher learning.) In this light, a certain unnerving conservatism emerges in his work: what should be questions of sweeping political import are recast as matters of individual ethics. McGurl writes, \u201cClinging to the institutional order, clinging for dear life, Wallace\u2019s commitment is \u2026 to a conception of therapeutic community in which what might have become political questions\u2014and, by implication, motives for political contestation\u2014are obediently dissolved.\u201d \u2014Dan Piepenbring
\n<\/strong><\/p>\n

Natalie Lyalin\u2019s poetry collection\u00a0Blood Makes Me Faint But I Go For It<\/em><\/a>\u00a0has an intriguing title, but I\u2019ve felt mildly daunted by the illustration on the cover\u2014of a woman who stares straight into my eyes whenever I look at her. It turns out, though, that such feelings of discomfort aren\u2019t inappropriate. Lyalin\u2019s\u00a0poems are weird, wide-eyed, and bold, and I feel uneasy reading them\u2014in a good way. Like this, from \u201cOn the Beaches of Majorca\u201d: \u201cAboard ships they snapped goodbye to their cities \/ They sparked like knives \/ And the oceans took them in with oceanic slurps \/ In a parallel moment we were on the beaches \/ Mute pastel puffs \/ Smoking around a cult-like fire.\u201d Her poems\u00a0remind me of Karen Russell\u2019s fiction: at once familiar and otherworldly, tame and frightening.\u00a0Lyalin\u2019s \u201cA Lemon Sweat Over Everything\u201d is almost a poetic version of the title story from Russell\u2019s\u00a0Vampire in\u00a0the Lemon Grove<\/em>:<\/p>\n

You can find my bones in the sister mountains
\nIdentify me by the gold fangs
\nThe fangs I showed you in the lemon orchard
\nalmost two hundred years ago
\nYou said they were sexy
\nThe sun blinding you from my mouth
\nWe were both smirking
\nand then I snarled
\nIt was very foreign
\nchasing you around the trees<\/p><\/blockquote>\n

\u2014Nicole Rudick<\/strong><\/p>\n

I could write about the addictive nature of Serial<\/em>, the true-crime podcast from the This American Life<\/em> team, but millions of others beat me to the punch. Instead, thanks to a recommendation from my friend Josh Lieberman, I advise you to fill these next two weeks until the next Serial<\/em> episode with Sundance Channel\u2019s eight-part documentary series, The Staircase<\/em><\/a>. The crime saga follows the case of the novelist Michael Peterson, whose wife, Kathleen, was found unconscious at the bottom of a staircase in the couple\u2019s Durham mansion. Was the death an accident, the result of falling down the stairs after consuming alcohol and Valium\u2014or was she murdered by Peterson? While the twists and turns are captivating and the series is filled with a cast of characters so interesting and bizarre it\u2019s difficult to appraise anyone involved, it\u2019s the fly-on-the wall\u2013style of Jean-Xavier de Lestrande\u2019s filmmaking that kept me going from one episode to the next. \u2014Justin Alvarez<\/strong><\/p>\n

You might have heard that Sam Lipsyte used to be in a punk band called Dungbeetle. This Saturday night at Le Poisson Rouge, they\u2019re reuniting\u2014with LCD Soundsystem\u2019s James Murphy on drums, no less\u2014as part of the launch party for Radio Silence<\/a>, a lit-and-music mag that\u2019s just released its\u00a0third issue. I suspect magic will be in the air. Bring earplugs and a taste for the bizarre. \u2014DP<\/strong><\/p>\n

I had never heard of Lorrie Moore when I tried to sit in on her M.F.A. workshop at the University of Wisconsin\u2013Madison. It was 2009, and I was barely eighteen. She kicked me out pretty quickly. Now, having spent the better part of five years recovering from the embarrassment, I have finally read Self-Help<\/em><\/a>, Moore\u2019s first collection of stories. About two-thirds are written in the second person, and this is both refreshing and compelling. It serves an almost didactic purpose in \u201cHow,\u201d as Moore guides us, step-by-step, through the motions of dumping a (maybe) dying boyfriend. In \u201cHow To Be an Other Woman,\u201d the second person puts a delightful twist on a recycled story: her protagonist struggles to find herself in (and as a result of) a messy extramarital affair. Witty and deft, Moore demands that her readers believe the story could be about them \u2026 not that it is<\/em> about them, but that it could be.\u00a0She blends comedy and tragedy so seamlessly that I found myself merrily caught between sadness and mirth, cynicism and optimism.\u00a0\u2014Alex Celia<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In The Program Era, Mark McGurl illuminated postwar American fiction\u2019s inextricable ties to universities and creative-writing programs; his new paper, \u201cThe Institution of Nothing,\u201d undertakes a reading of David Foster Wallace in the framework of \u201cthe program,\u201d and it\u2019s one of the most thoughtful exegeses I\u2019ve found of Wallace, whose work has enjoyed no shortage […]<\/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":[16161,16160,6437,16157,16158,516,16016,16159],"class_list":["post-79942","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-dungbeetle","tag-james-murphy","tag-lorrie-moore","tag-mark-mcgurl","tag-natalie-lyalin","tag-sam-lipsyte","tag-serial","tag-the-staircase"],"acf":[],"yoast_head":"\nStaff Picks: Staircases, Sister Mountains, Self-Help by The Paris Review<\/title>\n<meta name=\"description\" content=\"November 21, 2014 \u2013 In The Program Era, Mark McGurl illuminated postwar American fiction\u2019s inextricable ties to universities and creative-writing programs; 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