{"id":82474,"date":"2015-02-06T18:34:53","date_gmt":"2015-02-06T23:34:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82474"},"modified":"2015-02-10T12:04:38","modified_gmt":"2015-02-10T17:04:38","slug":"staff-picks-tornadoes-turf-wars-time-travel","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/06\/staff-picks-tornadoes-turf-wars-time-travel\/","title":{"rendered":"Staff Picks: Tornadoes, Turf Wars, Time Travel"},"content":{"rendered":"<div id=\"attachment_82478\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/girl-boy-man2.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82478\" class=\"wp-image-82478\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/girl-boy-man2.png\" alt=\"girl-boy-man2\" width=\"600\" height=\"439\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/girl-boy-man2.png 2000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/girl-boy-man2-300x219.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/girl-boy-man2-1024x749.png 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82478\" class=\"wp-caption-text\">From Richard McGuire\u2019s <i>Here.\u00a0<br \/><\/i><\/p><\/div>\n<p>In a\u00a0<em>New Yorker<\/em>\u00a0Talk of the Town from last year, the poet\u00a0Ansel Elkins sits at an outdoor table at the Standard East Village and watches, she says, \u201cthe parade of fine-looking men in suits.\u201d I thought of that line as I was reading her forthcoming debut collection,\u00a0<em><a href=\"http:\/\/yalepress.yale.edu\/yupbooks\/book.asp?isbn=9780300210026\" target=\"_blank\">Blue Yodel<\/a><\/em>. Elkins is from\u00a0Anniston, Alabama (she now lives in Greensboro, North Carolina), and her poems convey the punishing weather, latent violence, and overgrown beauty of the Southern states. One of\u00a0my favorites is \u201cTornado,\u201d in which a\u00a0woman loses her child to the storm: \u201cI watched my daughter fly away \/ from the grapnel of my arms. Unmoored, \/ like a skiff she sailed alone out the window.\u201d Among these measured evocations of sometimes wild places is a rather astute depiction of the city, in the poem \u201cTennessee Williams on Art and Sex,\u201d which takes its title from a 1975\u00a0<em>New York Times<\/em>\u00a0review of Williams\u2019s memoirs. (Williams, of course, was another Southerner come north.) \u201cMen in gray suits and hats leap graceful over a water-swollen grate\u00a0\/\u00a0You stop at a corner bodega to light a cigarette, lean against a crate of oranges,\u201d she writes. The poem\u00a0also\u00a0deals dexterously\u00a0with\u00a0missed connections: \u201c<em>Tell me again about\u00a0desire and writing<\/em>. But you don\u2019t hear me.\u201d\u00a0\u2014<strong>Nicole Rudick<\/strong><\/p>\n<p>The first page of Richard McGuire\u2019s graphic novel, <a href=\"http:\/\/www.indiebound.org\/book\/9780375406508\" target=\"_blank\"><em>Here<\/em><\/a>, depicts a corner of an empty living room. A date of the top left reads \u201c2014.\u201d The next page is the same vacant room decorated with floral wallpaper and different furniture, in 1957. Next page, same house, different wallpaper and furniture, 1942. As the book proceeds, McGuire inserts multiple \u201cwindows\u201d atop the room: snapshots of that same space across time, <a href=\"https:\/\/pbs.twimg.com\/media\/B5eqePlIQAEnxop.jpg:large\" target=\"_blank\">sometimes stretching back millennia<\/a> and jumping two hundred years into the future. We see Lenape Indians joking and flirting in the woods in 1609, the catastrophic rise of sea levels in 2126, carpenters building the house in 1907, the primordial swamps of 8,000 <small>B.C.E.<\/small>\u00a0Driven less by narrative and more by the juxtaposition,<em> Here<\/em> is a collage that pits domesticity and the personal, and even civilization, against the flow of time. McGuire, with his command of the rhythm and texture of images, is onto something concerning the way we perceive the temporal; <a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/cover-story-2014-11-24\" target=\"_blank\">he said about his recent cover<\/a> for <em>The New Yorker<\/em>, \u201cAs I walk around the city, I\u2019m time-traveling, flashing forward, planning what it is I have to do \u2026 Then I have a sudden flashback to a remembered conversation, but I notice a plaque on a building commemorating a famous person who once lived there, and for a second I\u2019m imagining them opening the door.\u201d \u2014<strong>Jeffery Gleaves<\/strong><\/p>\n<p>J.\u2009C. Chandor\u2019s first two films, <em>Margin Call <\/em>and <em>All Is Lost<\/em>, were impressive pressure cookers, but neither prepared me for the jolt of his latest, <em><a href=\"http:\/\/www.imdb.com\/title\/tt2937898\/\" target=\"_blank\">A Most Violent Year<\/a><\/em>, which somehow finds tension and high drama in New York City\u2019s heating-oil business circa 1981. Oscar Isaac stars as Abel Morales, the proprietor of Standard Oil, a thriving but beleaguered company facing turf wars with its competitors, violence against its drivers and salesman, and a slew of indictments from the District Attorney\u2019s office, among other problems. In attempting to solve these, Morales enters a mobbed-up, ethical gray zone, where any victory is pyrrhic and the threat of violence always looms. But <em>A Most Violent Year <\/em>is not a violent movie: it borrows from crime and gangster films without succumbing to their clich\u00e9s. As Chandor\u2019s camera takes in the blighted outer boroughs and graffitied subways, success, that most self-evident of goals, comes to feel like a slippery abstraction. \u201cHave you ever thought about <em>why<\/em> you want it so badly?\u201d Morales\u2019s second-in-command asks him at one point. \u201cI don\u2019t know what you mean,\u201d he replies, with scary sincerity. Isaac turns in a career-making performance: steely and suffering, he can say more with the set of his mouth than many actors do with their whole faces. \u2014<strong>Dan Piepenbring <br \/><\/strong><!--more--><\/p>\n<p>The <a href=\"http:\/\/www.robertmillergallery.com\/\" target=\"_blank\">Robert Miller Gallery<\/a> has mixed-media work by Ted Victoria on display. Victoria uses projections, lenses, and mirrors, to play with the eye, bringing a sense of otherworldliness to otherwise ordinary subjects. In one piece, he magnifies and projects a jar of krill so you can watch their enlarged bodies swim up and down an adjacent wall. The scene is eerie and enthralling, giving the room a strange luminescence; you could easily spend, as I did, an entire lunch watching the tiny crustaceans.\u00a0 \u2014<strong>Lynette Lee<\/strong><\/p>\n<p>As a national juror for the <a href=\"http:\/\/livepage.apple.com\/\" target=\"_blank\">Scholastic Writing Awards<\/a>, I spent this past weekend in Hunter College\u2019s computer labs, reading work by high school students, many of whom submitted hopeful, heartening essays about why they consider themselves writers and how writing has shaped them. These reminded me of <a href=\"http:\/\/babel.hathitrust.org\/cgi\/pt?id=mdp.39015031221057;view=1up;seq=15\" target=\"_blank\">C. Alphonso Smith\u2019s 1913 book<\/a>, <em>What Can Literature Do for Me?<\/em> With chapters like \u201cIt Can Keep Before You the Vision of the Ideal\u201d and \u201cIt Can Show You the Glory of the Commonplace,\u201d Smith\u2019s tract is an earnest, romantic appeal to the unconverted,\u00a0but he also draws from exciting and unexpected sources to make his case. \u201cSometimes the right book startles or warns you,\u201d he writes, \u201csometimes it takes issue squarely with you \u2026 but in every case it reveals something common with you, and on this common basis you rise toward its level.\u201d\u00a0\u2014<strong>Catherine Carberry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In a\u00a0New Yorker\u00a0Talk of the Town from last year, the poet\u00a0Ansel Elkins sits at an outdoor table at the Standard East Village and watches, she says, \u201cthe parade of fine-looking men in suits.\u201d I thought of that line as I was reading her forthcoming debut collection,\u00a0Blue Yodel. Elkins is from\u00a0Anniston, Alabama (she now lives in [&hellip;]<\/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":[14163,16951,16948,16947,16949,16950],"class_list":["post-82474","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-ansel-elkins","tag-c-alphonso-smith","tag-j-c-chandor","tag-richard-mcguire","tag-robert-miller-gallery","tag-ted-victoria"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staff Picks: Ansel Elkins, Richard McGuire, J. C. 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