{"id":82731,"date":"2015-02-13T18:46:58","date_gmt":"2015-02-13T23:46:58","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82731"},"modified":"2015-02-14T13:06:56","modified_gmt":"2015-02-14T18:06:56","slug":"staff-picks-cat-and-mouse-games-a-miasma-of-cuddles","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/staff-picks-cat-and-mouse-games-a-miasma-of-cuddles\/","title":{"rendered":"Staff Picks: Cat-and-mouse Games, a Miasma of Cuddles"},"content":{"rendered":"
\"FIFTY<\/a>

A still from Fifty Shades of Grey<\/i>.<\/p><\/div>\n

Among the more consistent sets of questions to appear in\u00a0Paris Review<\/em>\u00a0interviews are those regarding one\u2019s influences. It\u2019s a funny line to track throughout the Writers at Work series\u2014and one, I\u2019d venture, that often says a lot about a given writer\u2019s ego. (Watch, for example, as Robert Frost\u00a0bristles<\/a>\u00a0at the suggestion of an affinity between his work and that of Faulkner or Wallace Stevens, or as Nabokov\u00a0denies having learned\u00a0anything<\/em><\/a>\u00a0from James Joyce.) But aside from allowing for the pleasure of watching certain writers shift in their seats, these kinds of questions can also introduce me to writers I haven’t heard of, or writers I should have paid more attention to. In her\u00a0soon-to-be-published Art of Fiction interview<\/a>, Lydia Davis cites her discovery of Russell Edson\u2019s stories\u2014\u201cHe would call them poems,\u201d she says, \u201cbut I wouldn\u2019t\u201d\u2014as a major turning point in the development of her style. I couldn\u2019t help but dart off to find\u00a0a few<\/a>\u00a0myself, much to my enjoyment. \u2014Stephen Andrew Hiltner<\/strong><\/p>\n

When Fifty Shades of Grey<\/em> was first published, it was a cheap thrill to watch the critical bons mots pile up\u2014we had the book reviewers\u2019 equivalent of a home-run derby, with zingers for dingers. I remember Andrew O\u2019Hagan, writing in the LRB<\/em><\/a>, taking aim at the novel\u2019s arrantly vanilla kinkiness: \u201cI suspect the book has taken the world\u2019s mums by storm because there\u2019s no mess on the carpet and there are hot showers afterwards. Everybody is comfortable and everybody is clean: they travel \ufb01rst-class, the rich give presents, the man uses condoms, and everything dark is resolved in a miasma of cuddles.\u201d Now the film is out, and another team of critics is at bat. It\u2019s too early to declare a winner, but surely bonus points should be awarded to those who manage to trash the book and the movie in one fell swoop, as Anthony Lane has<\/a>. \u201cWe should not begrudge E. L. James her triumph,\u201d he writes, \u201cfor she has, in her lumbering fashion, tapped into a truth that often eludes more elegant writers\u2014that eternal disappointment, deep in the human heart, at the failure of our loved ones to acquire their own helipad.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

William Vollmann\u2019s piece in this month\u2019s Harper\u2019s,<\/em> \u201cInvisible and Insidious<\/a>,\u201d focuses on the fallout, both nuclear and financial, of the Fukushima radiation leak. The media wants big, explosive stories, but that\u2019s not the way nuclear fallout works, as evident by the climbing numbers, \u201cone or two digits per day,\u201d on the dosimeter<\/a> Vollmann keeps in his house in Sacramento, California. On several trips to Japan, Vollmann ventures near the \u201cForbidden Zone,\u201d the twenty-kilometer radius around Plant No. 1, whose level of radioactive contamination makes the area \u201cunlivable.\u201d Most striking, as always, is Vollmann\u2019s attention to the poor people in the area surrounding Fukushima\u2014those whose businesses are failing, those on the hook for mortgages, and those among the 150,000 nuclear refugees. When NPR asked him<\/a> about his extreme form of immersion journalism and whether he was worried about the radiation he\u2019d exposed himself to, Vollman said, \u201cI\u2019m an older person \u2026 I\u2019m going to die in any event, so I have less to fear. And I would really like to try to do some good in the world before I die and, you know, if I get cancer as a result, it\u2019s no real loss. The more I see of, you know, the disasters that nuclear power can cause, the more I think I would really like to describe this and help people share my alarm.\u201d \u2014Jeffery Gleaves
<\/strong><\/p>\n

I can\u2019t play it cool: I\u2019ve been waiting for Elisa Albert\u2019s After Birth<\/a> <\/em>since it was excerpted in Tin House<\/em> last winter. Back then, I read the excerpt aloud to anyone who would listen\u2014I wondered if Albert would be able to sustain the acerbic, obsessive voice of her protagonist, Ari, for the length of a novel. After Birth<\/em>\u2019s is fairly narrow in scope\u2014it chronicles a few wintery months of Ari\u2019s life as a new mother in upstate New York\u2014but I admire its emotional range. Ari\u2019s voice is ferociously funny, confrontational, and dark; Albert uses it to tackle feminism, Holocaust memory, inherited traumas, motherhood, and marriage.\u00a0\u2014Catherine Carberry<\/strong><\/p>\n

Luis Bu\u00f1uel\u2019s surrealist classic That Obscure Object of Desire<\/a> <\/em>makes for strangely perfect Valentine\u2019s Day viewing. The film follows Mathieu, an old and wealthy widower, in his obsession and pursuit of Conchita, a Spanish dancer. It\u2019s a classic cat-and-mouse game\u2014Mathieu tries to bed her, she continues to elude him\u2014and to complicate matters, two different actresses, whom Mathieu hilariously fails to distinguish, take on the role of Conchita. The film asks whether it\u2019s really eros<\/em> we want or if it\u2019s only the pursuit that holds our interest.\u00a0\u2014Lynette Lee<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Among the more consistent sets of questions to appear in\u00a0Paris Review\u00a0interviews are those regarding one\u2019s influences. It\u2019s a funny line to track throughout the Writers at Work series\u2014and one, I\u2019d venture, that often says a lot about a given writer\u2019s ego. (Watch, for example, as Robert Frost\u00a0bristles\u00a0at the suggestion of an affinity between his work […]<\/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":[1734,4735,8309,17053,17054,576,14095,17052],"class_list":["post-82731","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-andrew-ohagan","tag-anthony-lane","tag-e-l-james","tag-elisa-albert","tag-luis-bunuel","tag-lydia-davis","tag-russell-edson","tag-william-vollmann"],"acf":[],"yoast_head":"\nStaff Picks: Russell Edson, William Vollmann, Andrew O\u2019Hagan<\/title>\n<meta name=\"description\" content=\"What the staff of \u201cThe Paris Review\u201d is 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\/02\/13\/staff-picks-cat-and-mouse-games-a-miasma-of-cuddles\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Cat-and-mouse Games, a Miasma of Cuddles by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"February 13, 2015 \u2013 Among the more consistent sets of questions to appear in\u00a0Paris Review\u00a0interviews are those regarding one\u2019s influences. 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