{"id":81763,"date":"2015-01-16T17:58:55","date_gmt":"2015-01-16T22:58:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81763"},"modified":"2015-01-17T18:44:17","modified_gmt":"2015-01-17T23:44:17","slug":"staff-picks-diarists-dowsing-dolphin-safe-tuna","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/16\/staff-picks-diarists-dowsing-dolphin-safe-tuna\/","title":{"rendered":"Staff Picks: Diarists, Dowsing, Dolphin-safe Tuna"},"content":{"rendered":"
\"Egon_Schiele_057\"<\/a>

Egon Schiele, Portrait of Gertrude Schiele<\/i>, 1909.<\/p><\/div>\n

In 1995, on a trip to Australia, the performance artist and writer Kathy Acker met McKenzie Wark, a new-media theorist. They had a weekend-long affair and then, on Acker\u2019s return to San Francisco, engaged in a candid two-week e-mail correspondence\u2014now published for the first time<\/a>\u2014in which gossip, cultural criticism, daily activities, queer theory, and personal problems are inextricably tangled. A searching discussion of Blanchot, Bataille, and totalitarianism is together with a back-and-forth about pissing and coming at the same time. Very quickly, the gendered sex talk\u2014of butch, femme, and super-femme; straight girls and queer ones; gay guys, straight guys, and just \u201cguys\u201d\u2014becomes confused: Who\u2019s talking about whom? But it doesn\u2019t matter. As Acker says, \u201cMe, straight queer gay whatever and where do nut cakes like me fit in who like getting fistfucked whacked and told what to do?\u201d Wark responds, \u201cI like this idea of a refusal to be called other. As normal as the next human.\u201d Acker died not two years later of breast cancer. This book is a wonderful reminder of her quick mind and remarkable intellect. How lucky Wark was to have gotten it all firsthand. \u201cI forgot who I am,\u201d he writes to Acker. \u201cYou reminded me of who I prefer to be.\u201d \u2014Nicole Rudick<\/strong><\/p>\n

\u201cWhat I love about university libraries,\u201d Susan Howe says in her interview with The Paris Review<\/em>, \u201cis that they always seem slightly off-limits, therefore forbidden. I feel I\u2019ve been allowed in with my little identity card and now I\u2019m going to be bad.\u201d How bad? Dowsing for buried manuscripts is, she says, a kind of \u201ccivilly disobedient telepathy.\u201d Howe\u2019s new book, Spontaneous Particulars: The Telepathy of Archives<\/a><\/em>, is an elegiac essay for the old archives of paper and ink, now being off-sited by digital technologies. The book pieces together Howe\u2019s work on the papers of the eighteenth-century divine Jonathan Edwards with the third book of William Carlos Williams\u2019s Paterson<\/em>, about the burning of the library. I can\u2019t think of another work that evokes the romance of research in the way this one does. It captures that moment when you find exactly the thing you didn\u2019t know you were searching for. \u2014Robyn Creswell<\/strong><\/p>\n

Keep an eye out for Elliot Ackerman\u2019s first novel,\u00a0Green on Blue<\/em>, coming next month.\u00a0Ackerman, who served five tours in Iraq and Afghanistan, caught my attention in recent weeks with essays in the New York Times<\/em> Magazine<\/em><\/a>\u00a0(on skateboarding in Southbank)\u00a0and\u00a0The New Yorker<\/a><\/em>\u00a0(on a visit he paid to a military outpost on the front line of the war with ISIS<\/small>), both of which betray the informed sensitivity of his observations. (If you dig deeper into \u2019net history, you\u2019ll find his reflections on\u00a0Fallujah<\/a>.)\u00a0Green on Blue<\/em>, already on the Times<\/em>\u2019s Reading List of Modern War Stories<\/a>, tells the story of a young boy coming of age in Afghanistan\u2014the premise of which, alone, serves as an impressive act of empathy. \u2014Stephen A. Hiltner<\/strong> <\/p>\n

In the 1970s, when masses of dolphins were dying in tuna nets, a public shaming campaign led the industry to change its ways\u2014thus began the era of \u201cdolphin-safe tuna.\u201d This is the anecdote that begins Jennifer Jacquet\u2019s Is Shame Necessary?<\/a><\/em>, out in February, a sharp examination of the role shaming plays in our society and its effectiveness as a tool for change. When we\u2019re faced with the question of how to stop a business from doing something we find wrong, we often substitute an easier question: What can I buy instead? But this kind of consumer guilt, Jacquet says, only shifts responsibility for society\u2019s ills away from the perpetrators. We need campaigns that shame corporations into reforming, otherwise we\u2019ll get the equivalent of dolphin-safe tuna labels with no change behind them. \u2014Andrew Jimenez<\/strong><\/p>\n

A friend recently took me to \u201cEgon Schiele: Portraits<\/a>,\u201d an exhibition at the Neue Galerie through April 20. Schiele, who died when he was only twenty-eight, had his first exhibition in 1908; this show begins in a small room with some of that early work, charcoal portraits drawn with such precision that from a distance they\u2019re almost indistinguishable from photography. Moving through the rooms, you see how quickly Schiele\u2019s style evolved: Eros suddenly supersedes realism, and the work erupts with vibrancy. His lines, once soft and fragile, become hard with urgency; his sitters are now elongated and angular. A few favorites: the corpselike man with exaggerated sunken eyes and an overreaching brow ridge\u2014the Portrait of Karl Zakovsek<\/em>; the portrait of the artist\u2019s sister, Gerti, with gold-bronze paint reminiscent of Gustav Klimt’s Adele Bloch-Bauer I<\/em> (also at the Neue Galerie); a scene of two women pleasuring each other, one woman\u2019s hands cupping her lover\u2019s breasts as she kneels behind her. The work is\u00a0whimsical, confrontational, and raw.\u00a0\u2014Caitlin Youngquist<\/strong><\/p>\n

John McPhee may be the only writer who can sustain a comprehensive and often exciting narrative about geology and the theory of tectonics for 660 pages; his Annals of the Former World<\/em><\/a> covers science while retaining the layman\u2019s interest. McPhee spent twenty years traveling the United States in the frequent company of a geologist, hoping to tell the entire 4.6-billion-year narrative of eruptions, earthquakes, spreading seafloors, and glaciers that created today\u2019s landscape. The result was five books, released separately and then compiled in Annals<\/em>, which won the Pulitzer in 1999. Weaving together biographical profiles, flashbacks, memoir, and dramatic histories of the Earth with hard science, McPhee captures our understanding of the world\u2019s eonic rhythms. And he seems to know exactly how to calibrate the story: after several Latin-filled pages of science, for example, he draws the narrative back to a young Wyoming homesteader watching his mother patch up a wounded ranch hand on their kitchen table. \u2014Jeffery Gleaves<\/strong><\/p>\n

Many diarists are motivated by a sense of duty and discipline, haunted by the Sisyphean task of serving as their own archivists. Sarah Manguso\u2019s Ongoingness: The End of a Diary<\/em><\/a>, out in March, is a bold, elegant, and honest confrontation of a diarist\u2019s motivations and neuroses. In tight, economical prose, Manguso chronicles the pathology of her obsessive journaling and the constellation of influences\u2014memory, motherhood, age, marriage\u2014that fueled her writing and ultimately rendered her exhaustive recording no longer necessary. Ongoingness<\/em> reads variously as an addict\u2019s testimony, a confession, a celebration, an elegy. Manguso dismantles the assumptions of compulsive diarists, those who frantically record in order to remember: \u201cPerhaps all anxiety might derive from a fixation on moments\u2014an inability to accept life as ongoing.\u201d\u00a0\u2014Catherine Carberry<\/strong><\/p>\n

Last weekend I began the first of Elena Ferrante\u2019s popular Neapolitan novels, My Brilliant Friend<\/em><\/a>. Set in the outskirts of Naples during the fifties and sixties, it tells of a beautiful, complicated friendship between two girls, Lila and Len\u00f9. Theirs is a world filled with the anxieties of puberty, the pressures of school, family, friendship, and boys\u2014experiences familiar to most women, made unusually intimate in Ferrante\u2019s hands. But there\u2019s always intensity and violence attached to transformation, and so it is here: rivalry, competition, jealousy, and rage dominate the narrative. But the greatest fear between these friends is their individual unpredictability\u2014even the people you\u2019re closest to are inscrutable, a paradox that Ferrante captures to brilliant effect. \u2014Cassie Davies<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In 1995, on a trip to Australia, the performance artist and writer Kathy Acker met McKenzie Wark, a new-media theorist. They had a weekend-long affair and then, on Acker\u2019s return to San Francisco, engaged in a candid two-week e-mail correspondence\u2014now published for the first time\u2014in which gossip, cultural criticism, daily activities, queer theory, and personal […]<\/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":[16651,13206,16649,16650,8625,7820,16648,2363,9393],"class_list":["post-81763","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-egon-schiele","tag-elena-ferrante","tag-elliot-ackerman","tag-jennifer-jacquet","tag-john-mcphee","tag-kathy-acker","tag-mckenzie-wark","tag-sarah-manguso","tag-susan-howe"],"acf":[],"yoast_head":"\nStaff Picks: Kathy Acker, Egon Schiele, Elena Ferrante, and More<\/title>\n<meta name=\"description\" content=\"What\u2019s the staff of The Paris Review reading this week?\" \/>\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\/2015\/01\/16\/staff-picks-diarists-dowsing-dolphin-safe-tuna\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Diarists, Dowsing, Dolphin-safe Tuna by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"January 16, 2015 \u2013 In 1995, on a trip to Australia, the performance artist and writer Kathy Acker met McKenzie Wark, a new-media theorist. 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