{"id":83877,"date":"2015-03-20T19:35:07","date_gmt":"2015-03-20T23:35:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=83877"},"modified":"2015-03-21T09:49:18","modified_gmt":"2015-03-21T13:49:18","slug":"staff-picks-mendelsohn-microgravity-misconduct","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/03\/20\/staff-picks-mendelsohn-microgravity-misconduct\/","title":{"rendered":"Staff Picks: Mendelsohn, Microgravity, Misconduct"},"content":{"rendered":"
\"otolithi\"<\/a>

A still from Otolith I<\/i>.<\/p><\/div>\n

Daniel Mendelsohn\u2019s essay on Sappho<\/a> has been haunting me since I read last week\u2019s New Yorker<\/em>. First there\u2019s the history of her poems. We all know these survive today in a few fragments,\u00a0but to think there were once as many as ten thousand lines\u2014and that these were in wide circulation for a millennium<\/em>\u2014can make your chair tilt under you a little. Then there are the fragments themselves, a handful quoted by Mendelsohn in his own translation. Maybe it\u2019s the weather, but I\u2019ve found myself going back to his version of Sappho\u2019s most famous surviving poem, the one that begins \u201cHe seems to me an equal of the gods\u2014 \/ whoever gets to sit across from you,\u201d as if I\u2019ve never seen a poem like that before. \u2014Lorin Stein<\/strong><\/p>\n

The Otolith Group, founded in 2002, produces films and writings around sound, Afrofuturism, and the archive. I\u2019ve been curious about the group for some time; since it\u2019s based in London and exhibits mainly in Europe, I\u2019ve had only glancing experiences with its work. But this week their first film, Otolith I<\/em>, is available at Carroll \/ Fletcher Onscreen<\/a>, an \u201conline cinema\u201d for experimental films. The Otolith Group\u2019s name comes from a part of the inner ear sensitive to gravity and tilt, and Otolith I<\/em> could be a kind of manifesto: narrated by a woman in 2103, it explains that prolonged time spent in the \u201cmicrogravity\u201d of space has deformed the otoliths of those born on the International Space Station. This new kind of human cannot survive on Earth and must rely on archival footage in order to understand life on the planet. Our narrator examines footage of the Soviet cosmonaut Valentina Tereshkova and of the Iraq war protests in New York in 2003. The former sets up the cosmos as a \u201czone of peace\u201d; the latter describes a society crippled by collective blindness. \u201cMy comprehension erodes under the attrition of American war-speak. Did you know that \u2018regime change\u2019 means \u2018invasion,\u2019 that \u2018preemptive defense\u2019 means \u2018attacking a country that is not attacking you,\u2019 that \u2018shock and awe\u2019 means \u2018military onslaught\u2019?\u201d \u2014Nicole Rudick
<\/strong><\/p>\n

After the Tall Timber<\/a><\/em>, a new collection of Renata Adler\u2019s nonfiction, finally gave me the chance to read her scorched-earth review of Pauline Kael\u2019s When the Lights Go Down<\/em>, from 1980\u2014a work of such fecund, well-placed contempt that it\u2019s still fodder for gossipy water-cooler chats at publishing houses. Adler dismantles Kael\u2019s prose style line by vainglorious line, suggesting her voice has been bankrupted by The New Yorker<\/em>\u2019s institutional imprimatur and the strain of regular publication. \u201cThe substance of her work,\u201d Adler writes, \u201chas become little more than an attempt, with an odd variant of flak advertising copy, to coerce, actually to force numb acquiescence, in the laying down of a remarkably trivial and authoritarian party line.\u201d I was nodding and smirking along until I got to the part about rhetorical questions\u2014which Kael grievously overuses, and for which I share a certain fondness. The thought crept in: Am I, too, a Kael-order fraud? Is it possible to write often and write well? After all, if these faults are true of Kael\u2014who wrote weekly, six months a year\u2014they could be at least doubly true for\u00a0those of us who write daily, year-round. By the last page, where Adler dollies back for the big picture (\u201cWhat really is at stake is not movies at all, but prose and the relation between writers and readers\u201d) I felt I\u2019d been called out as a hack six years before I was even born. \u2014Dan Piepenbring<\/strong><\/p>\n

For all its successes,\u00a0Serial<\/em><\/a>\u2019s\u00a0<\/em>most enduring legacy may be its promotion of the invaluable work done by the Innocence Project<\/a>, an organization dedicated to exonerating the wrongly convicted. The group filed a grievance this week alleging\u00a0prosecutorial misconduct<\/a>\u00a0in the Cameron Todd Willingham case, which prompted me to reread David Grann\u2019s methodical\u00a0New Yorker<\/em>\u00a0report, from 2009, on\u00a0Willingham\u2019s trial and execution<\/a>. Revisiting the piece evokes a renewed sense of injustice at the manifold failures of the judicial system: its reliance on the pseudoscience of the fire investigators, the reluctance of the prosecutors to consider contradictory evidence, the inaction of the Board of Pardons and Paroles. This latest round of court procedures, if anything, is a testament to the value of an organization that, more than ten years after Willingham\u2019s execution, is still laboring to clear his name. \u2014Stephen Andrew Hiltner<\/strong><\/p>\n

I know when I\u2019ve found a good book when it slows me down, as Lucas Mann\u2019s Lord Fear<\/em><\/a> did. It\u2019s also a good sign, I find, when the book is hard to describe, as Lord Fear <\/em>is. On the surface, it\u2019s a memoir about Mann\u2019s enigmatic older brother, who died of a heroin overdose when Mann was thirteen. But it\u2019s more about memory, myth-making, and desire than its plot suggests. Written mainly from the perspectives of those who knew his brother at different points in his life, the book\u2019s scenes, reconstructed from interviews, are delicately rendered and hyper\u2013self aware; with this unflinching, fractured examination of his brother, Mann suggests that writing about and investigating any life produces infinite contradictory representations that orbit around an indefinable center. Mann is driving at how we know that unknowable thing\u2014taking us right up to language\u2019s edge, where we watch him peer over. \u2014Jeffery Gleaves<\/strong><\/p>\n

\u201cHalf-liberated, half-drunk,\u201d Ann-Marie, the narrator of Zoe Pilger\u2019s debut novel Eat My Heart Out<\/a><\/em>,\u00a0is a Molotov cocktail about to be thrown.\u00a0Lethally bored, she careens from Cambridge to K-hole on a dizzy pilgrimage that ultimately lands her on the doorstep of the legendary feminist intellectual Stephanie Haight, who becomes convinced Ann-Marie is a symbol of the disaffected \u201cpost-post feminist\u201d generation\u2014someone in need of salvation. It\u2019s a dauntless portrayal of a modern twenty-three-year-old woman, vulnerable beneath the veneer of sass and vitriol, frantically trying to navigate the pressures and double standards of twenty-first century womanhood. It\u2019s also the funniest book I\u2019ve read all year, one that succeeds in being both refreshing and resonant. When the mood-killing question of a condom arises during a one-night stand, Ann-Marie asks, \u201cWould you rather we didn\u2019t use them?\u201d \u201cYeah,\u201d the guy responds, \u201cThanks. It\u2019s just I don\u2019t like the sensation of condoms.\u201d \u201cWell, I don\u2019t really like the sensation of abortions,\u201d she says. \u2014Kit Connolly<\/strong><\/p>\n

Stephen McCauley\u2019s introduction to The American Isherwood<\/a><\/em>, a new collection of critical essays about the renowned author of the\u00a0Goodbye Berlin<\/em>, cites Richard Avedon\u2019s definition of charm<\/em> as \u201cthe ability to be truly interested in other people.\u201d Isherwood definitely had it, and so does this thoughtful collection. One highlight among its nineteen essays is Carola M. Kaplan\u2019s \u201cWorking through Grief in the Drafts of A Single Man<\/em>,\u201d\u00a0in which Kaplan traces the four majors drafts of the novella. We learn that\u00a0A Single Man<\/em>\u00a0used to be called\u00a0The English Woman<\/em>, until conversations with Don Bachardy, Isherwood\u2019s lover of three decades,\u00a0shaped\u00a0the\u00a0story into its current form.\u00a0In other essays, we learn that Aldous Huxley and Isherwood were friends of the Pineapple Express variety, and that Virginia Woolf thought Isherwood was an obnoxious punk. (She changed her mind after meeting him in person, writing in her journal that he was \u201cone of the most vital & observant of the young.\u201d) \u2014Matt Caprioli<\/strong><\/p>\n

My friend dragged me to a seventy-minute autobiographical solo musical, and afterward had to drag me, dazed and sniffling, out of the theater. Benjamin Scheuer\u2019s The Lion<\/a><\/em>, playing downtown at the Lynn Redgrave for another five weeks, is a disarming look at its star\u2019s struggles, regrets, and thirst for approval. Scheuer, a seasoned singer-songwriter, achieves an easy intimacy with the audience, strolling around a quaint set adorned with three wooden chairs, his guitars casting immense shadows on the warm ochre walls. Every song he sings is a scene from his life; he fills in the gaps with narration while moving from chair to chair, episode to episode. It may sound contrived, with its sweet folk ballads and its focus on family\u2014but behind his blue-eyed persona, Scheuer is a creature of surprising tenderness and thorniness. The Lion<\/em> exposes him as a frightened melancholic and dares us to love him anyway.\u00a0\u2014Alexandra Rezvina<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Daniel Mendelsohn\u2019s essay on Sappho has been haunting me since I read last week\u2019s New Yorker. First there\u2019s the history of her poems. We all know these survive today in a few fragments,\u00a0but to think there were once as many as ten thousand lines\u2014and that these were in wide circulation for a millennium\u2014can make your […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[17509,17507,12531,9988,2137,11097,4721,8391,4714,17508,17506,16352],"class_list":["post-83877","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-benjamin-scheuer","tag-cameron-todd-willingham","tag-christopher-isherwood","tag-daniel-mendelsohn","tag-david-grann","tag-lucas-mann","tag-pauline-kael","tag-renata-adler","tag-sappho","tag-stephen-mccauley","tag-the-otolith-group","tag-zoe-pilger"],"acf":[],"yoast_head":"\nStaff Picks: Sappho, Renata Adler, Lucas Mann<\/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\/03\/20\/staff-picks-mendelsohn-microgravity-misconduct\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Mendelsohn, Microgravity, Misconduct by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"March 20, 2015 \u2013 Daniel Mendelsohn\u2019s essay on Sappho has been haunting me since I read last week\u2019s New Yorker. 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