{"id":82218,"date":"2015-01-30T18:27:31","date_gmt":"2015-01-30T23:27:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82218"},"modified":"2016-04-03T18:17:15","modified_gmt":"2016-04-03T22:17:15","slug":"staff-picks-getting-on-getting-away-getting-organized","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/30\/staff-picks-getting-on-getting-away-getting-organized\/","title":{"rendered":"Staff Picks: Getting On<\/i>, Getting Away, Getting Organized<\/i>!"},"content":{"rendered":"
\"Labor,_Management\"<\/a>

\u201cTogether We Can Do It!\u201d<\/p><\/div>\n

The latest issue of n+1 <\/em>opens with an edifying symposium on labor and magazines<\/a>, two subjects more historically entwined than you might think. Nikil Saval has an excellent primer on the first strike in publishing, and Gemma Sieff tells the still-contentious story of Harper\u2019s<\/em> unionization\u2014but what really got me was Daniel Menaker\u2019s recollection of tensions at The New Yorker<\/em> in the seventies, when employees twice tried to stand up for better pay. William Shawn may have been an extraordinary editor, but a manager he was not. \u201cWe should have had a policy that after ten years,\u201d he said in a speech to the staff, \u201cif [employees] didn\u2019t rise to something, then they should leave. They\u2019re eccentric, unusual people, and we keep them on.\u201d It\u2019s a lot of inside baseball\u2014I\u2019m not sure, frankly, if anyone who doesn\u2019t work at a magazine will care\u2014but it will nurse the flame of the populist in your soul. And it provides a bracing counternarrative for the publishing industry, which is too often depicted as a kind of rarefied good-old-boys\u2019 cabal. Now, if you\u2019ll excuse me, I must agitate for collective bargaining among the staff of a certain literary quarterly. Editors of the world, unite. \u2014Dan Piepenbring<\/strong><\/p>\n

Maybe I\u2019ve been watching too much Girls\u00a0<\/em>or Transparent<\/em>\u00a0or Togetherness,\u00a0<\/em>or reading too much Trollope (see below), but for my money, no comedy on TV can compete with season two of Getting On<\/a><\/em>, a show with old, sick people in\u00a0it, and with smart, passionate, deluded, lonely protagonists\u2014none of whom is\u00a0trying to get famous. Such people do exist, and their problems are funny, too. \u2014Lorin Stein<\/strong><\/p>\n

While I\u00a0was\u00a0in England a few years ago, someone recommended I arrange to see an Evensong<\/a> concert. The majesty of the experience doesn\u2019t translate to anything I\u2019ve encountered in the U.S.\u2014the tightly enclosed chapels and their unspeakably beautiful designs, the intensity and reverberation of the voices, the ritual of it all. I was reminded of the experience\u2014one that I repeated as many times as I could\u2014when I came across the Choir of New College Oxford\u2019s version of \u201cShenandoah<\/a>.\u201d (Leave it to an Oxonian choir to offer the most hauntingly beautiful version of an American folk song.) \u2014Stephen Hiltner<\/strong><\/p>\n

The New York Times<\/em> wrote that Kathleen Ossip\u2019s first collection of poems, The Cold War<\/a><\/em>, \u201cconjures delightful and unexpected muses in this socio-poetical exploration of post-World War II America<\/a>.\u201d Her second collection, The Do-Over<\/em><\/a>, is an equal delight. It uses the same socio-poetically shrewd eye to consider America\u2019s pop-culture milieu, distilling its own understanding of mortality and death. Unassuming and masterly, Ossip\u2019s poetry is sneaky, very often disguising itself as easy, and surprising you the moment you let your guard down; \u201cher poems are fun and deadly serious at once<\/a>,\u201d as NPR put it. The Do-Over<\/em> is a kind of elegy to contemporary culture: it critiques modern life while basking in its ever-younger, glitzier rabble. \u2014Jeffery Gleaves
<\/strong><\/p>\n

In the preface to Atlas of Remote Islands<\/a><\/em>, the German writer and typographer Judith Schalansky argues that the atlas should be recognized as a literary form. Her book makes an elegant case: in fifty maps of the world\u2019s most isolated islands, accompanied by vignettes, Schalansky examines \u201cthe attraction of a beautiful void,\u201d exploring the places as cultural, political, or personal metaphors and detailing their histories. Her prose is vivid and haunted, driven by a formidable amount of research. On these islands, she finds stories of high hopes and crushing losses, of failed utopias and lawless communities. It\u2019s something of a love letter to cartography, but Atlas<\/em> is not a romantic book\u2014its stories are gritty with disappointment and hardship. \u2014Catherine Carberry<\/strong><\/p>\n

The brothers Laurent and Larry Bourgeois, aka Lil Beast and Ca Blaze, make up the impressive French hip-hop sensation known as Les Twins. (Check out their performances at\u00a0San Diego in 2010<\/a>\u00a0and at the\u00a0World of Dance in 2014<\/a>.) The duo taught themselves the fundamental techniques of ballet at a young age, which contributes to the fluidity of their hard-hitting, almost animatronic moves. People have been doing the robot since the late sixties, but Les Twins, having once shared the same zygote, take it further. They use each other\u2019s bodies in homoerotic ways\u2014vogueing, the hands of one moving slowly down the hips of the other\u2014to subvert hip-hop\u2019s heteronormative, hyper-masculine rep. Throw in some glitchy music and Laurent and Larry are suddenly more than just twins\u2014they\u2019re clones, cyborgs, automatons even, stuck in some beautifully malfunctioning videotape. \u2014Caitlin Youngquist<\/strong><\/p>\n

The other week at Housing Works, I stumbled on a book I\u2019ve been wanting to read for a long time, Trollope\u2019s posthumous An Autobiography<\/a><\/em>. According to the 1923 Oxford Classics introduction, \u201cthis queer abrupt text-book of the mechanics and economics of novel-writing was perhaps the most potent of the several causes that led to the collapse of Anthony Trollope as a literary reputation\u201d right after he died, in 1882. You can see why. Trollope\u2019s arrogance, his touchiness, his self-absorption, his competitiveness, his obsession with work and money are shocking even now. His autobiography reads like nothing so much as a Writers at Work interview avant la lettre\u2014and before editing. I couldn\u2019t put it down. Trollope claimed, credibly, to have written more novels than anyone in history, and he clearly wrote them as if by dictation, counting the words (so the publisher wouldn\u2019t cheat him) while the plots and characters simply took care of themselves. As an official in the post office, where he had a brilliant career (and invented the mail box: this gets a parenthesis in the Autobiography<\/em>), he wrote long reports without first drafts and expected his subordinates to do the same. His chief preoccupations seem to have been mail delivery, fox hunting, and the novel as a form of moral instruction. But I love him. He ranges over his own novels with a brusque critical eye. Of The Claverings<\/em>, he writes, \u201cThere is a wife whose husband is a brute to her, who loses an only child\u2014his heir\u2014and who is rebuked by her lord because the boy dies. Her sorrow is, I think, pathetic \u2026 But I doubt now whether any one reads The Claverings<\/em>.\u201d From this tiny description I remembered the book, because I\u2019ll never forget the scene. I found myself wanting to tell his ghost, I<\/em> read it, Anthony! I read it!\u00a0\u2014L. S.<\/strong><\/p>\n

Asymptote<\/a><\/em>, which is celebrating its fourth anniversary, has been home to some of the best writers in contemporary world literature, from Murakami, Coetzee, and Herta M\u00fcller, to newer writers such as Toh EnJoe and Tan Twan Eng. The January issue features fiction from the Danish authors Dorthe Nors and Naja Marie Aidt, interviews with David Damrosch and Szil\u00e1rd Borb\u00e9ly, and three-dimensional (!) poetry from Iran. I plan to spend the weekend with it. \u2014Lynette Lee<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The latest issue of n+1 opens with an edifying symposium on labor and magazines, two subjects more historically entwined than you might think. Nikil Saval has an excellent primer on the first strike in publishing, and Gemma Sieff tells the still-contentious story of Harper\u2019s unionization\u2014but what really got me was Daniel Menaker\u2019s recollection of tensions […]<\/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":[1623,4149,12610,16840,16839,16843,16842,16837,16844,208,16841,16838,3079],"class_list":["post-82218","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-anthony-trollope","tag-asymptote","tag-daniel-menaker","tag-evensong","tag-getting-on","tag-judith-schalansky","tag-kathleen-ossip","tag-labor","tag-les-twins","tag-n1","tag-shenandoah","tag-unions","tag-william-shawn"],"acf":[],"yoast_head":"\nStaff Picks: Getting On, Getting Away, Getting Organized! by The Paris Review<\/title>\n<meta name=\"description\" content=\"January 30, 2015 \u2013 The latest issue of n+1 opens with an edifying symposium on labor and magazines, two subjects more historically entwined than you might think. 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