{"id":84377,"date":"2015-04-03T18:54:25","date_gmt":"2015-04-03T22:54:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=84377"},"modified":"2015-05-08T16:13:01","modified_gmt":"2015-05-08T20:13:01","slug":"staff-picks-h-i-s-t-o-r-y-apocalyptic-dry-humping","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/03\/staff-picks-h-i-s-t-o-r-y-apocalyptic-dry-humping\/","title":{"rendered":"Staff Picks: H-I-S-T-O-R-Y, Apocalyptic Dry-humping"},"content":{"rendered":"
\"B-xueZsUsAIZ79i.jpg_large\"<\/a>

A still from Dial H-I-S-T-O-R-Y<\/i>.<\/p><\/div>\n

The hysteria and mystery surrounding the Germanwings crash have led me back to Johan Grimonprez\u2019s Dial H-I-S-T-O-R-Y<\/a><\/em>, a 1997 film collage that traces the history of plane hijackings\u2014and, just as important, the media fixation on those hijackings. When Tom McCarthy presented Dial H-I-S-T-O-R-Y <\/em>at Film Society of Lincoln Center last month, he praised its presentation of \u201cmedia as a crypt from which history is leaking out\u201d and \u201cterrorism as a theological condition.\u201d The film\u2019s macabre footage captivates, in no small part because of Grimonprez\u2019s shrewd, ironical editing. In one sequence, a grinning boy just rescued from a hijacked plane tells reporters, \u201cI had a good time, I guess\u201d; in another, a girl, still violently crying, is hustled off a recuperated aircraft only to be led into the klieg lights of a press junket. As McCarthy pointed out, the project hasn\u2019t aged well\u2014it came before 9\/11, after all, and its focus on television can feel quaint in the age of the smartphone\u2014but as a meditation on the codependency of media and terrorism, it remains invaluable. Sprinkled throughout the film are spoken excerpts from DeLillo\u2019s Mao II<\/em>, which feel, whenever they\u2019re incanted, truer than ever: \u201cIn societies reduced to blur and glut, terror is the only meaningful act.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

Someone who has \u201ca lasting liking for the cryptic and the ambiguous and the incantatory and the disconnected and the extravagant and the oracular and the apocalyptic\u201d might turn out to be pedantic and self-absorbed, but chances are, they\u2019re the sort of person you want to know deeply but are never able to. The person in question here is Joseph Mitchell, the rather enigmatic subject of a new biography that is itself the subject of a review by Janet Malcolm<\/a> in the latest\u00a0New York Review of Books.\u00a0<\/em>(See also our series \u201cBig, Bent Ears<\/a>,\u201d which takes Mitchell as a subject.)\u00a0Malcolm is an obvious choice for the assignment, but that doesn\u2019t detract from how fun it is to read her on Mitchell. \u201cWhere the hell is this going?\u201d she asks about a rambling conversation between Mitchell and one of his subjects. \u201cAs in all of Mitchell\u2019s pieces everything is always going somewhere, though not necessarily so you\u2019d notice.\u201d Malcolm is admiring of Mitchell\u2019s work, reverential even, but astute. When Thomas Kunkel, Mitchell\u2019s biographer, discovers that his subject invented portions of his nonfiction stories and makes excuses for these fabrications, Malcolm puts him in his place: \u201cFew of us have gone as far as Mitchell in bending actuality to our artistic will. This is not because we are more virtuous than Mitchell. It is because we are less gifted than Mitchell.\u201d\u00a0\u2014Nicole Rudick
<\/strong><\/p>\n

In one story from Kevin Barry\u2019s\u00a0Dark Lies the Island<\/a>,\u00a0<\/em>the locals of a small town get drunk, dance, and dry-hump in a hotel bar while the waters of an apocalyptic flood rise outside. This sets the tone for the entire\u00a0collection: a party at the end of the world.\u00a0Barry has a savage eye and a tender streak, and these thirteen stories showcase Irish wit at its most ferocious and unapologetic.\u00a0He writes with squeamish honesty: in one, a middle-age father admits that \u201chorribly often, our beautiful, perfect daughters emerge into a perfect facsimile of how our beautiful, desirable wives had been, back then, when they were young,\u201d and in another, a pensioner decides the baby she\u2019s just kidnapped \u201cisn\u2019t worth the effort or the risk,\u201d and so abandons it in a hawthorn bush. Barry\u2019s characters span a range of ages and backgrounds, but they\u00a0share a penchant for misery and a talent for destruction.\u00a0In the final story, an infatuated young artist thinks wistfully of his lost love, hoping she\u2019s still out there in the world,\u00a0still \u201cbeautiful, foul-mouthed, and inviolate.\u201d I hope Barry\u2019s writing continues that way, too. \u2014Kit Connolly<\/strong><\/p>\n

The stories in Rachel Kushner\u2019s The Strange Case of Rachel K<\/a><\/em> are all set in Cuba\u2014as was her debut novel, Telex from Cuba<\/em>\u2014but each has its own ecology. Kushner\u2019s sentences should be sent into space as evidence that some humans do indeed understand reason and consequence, and this accessible collection could convert newcomers to her cause. In the opening scene of the title story, the narrator asks, \u201cWhat could you accurately claim to know about anyone, much less a stranger to whom you were attracted? And yet you could claim, accurately, that a person was evasive, and that their evasions interested you.\u201d Kushner\u2019s prose is precise rather than evasive, but there\u2019s still a compelling mystery in these stories, one that invites the reader to come closer.\u00a0\u2014Catherine Carberry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The hysteria and mystery surrounding the Germanwings crash have led me back to Johan Grimonprez\u2019s Dial H-I-S-T-O-R-Y, a 1997 film collage that traces the history of plane hijackings\u2014and, just as important, the media fixation on those hijackings. When Tom McCarthy presented Dial H-I-S-T-O-R-Y at Film Society of Lincoln Center last month, he praised its presentation […]<\/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":[17666,1889,17664,42,17665,8397,11777,9330,5215],"class_list":["post-84377","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-dial-h-i-s-t-o-r-y","tag-don-delillo","tag-germanwings","tag-janet-malcolm","tag-johan-grimonprez","tag-joseph-mitchell","tag-kevin-barry","tag-rachel-kushner","tag-tom-mccarthy"],"acf":[],"yoast_head":"\nStaff Picks: Grimonprez, Malcolm, Barry, Kushner<\/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, 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