{"id":85163,"date":"2015-04-24T19:36:34","date_gmt":"2015-04-24T23:36:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=85163"},"modified":"2015-04-27T10:43:22","modified_gmt":"2015-04-27T14:43:22","slug":"staff-picks-man-boys-musicals-multimillionaires","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/24\/staff-picks-man-boys-musicals-multimillionaires\/","title":{"rendered":"Staff Picks: Man-boys, Musicals, Multimillionaires"},"content":{"rendered":"
\"sphinx_intro_rgb\"<\/a>

From the cover of Sphinx<\/i>.<\/p><\/div>\n

\"thirlwell\"<\/a>\u201cIn one corner of the room there was a television, and I find it difficult to avoid a television\u2014not because I am so intent on the game shows and confessions, but just because a moving image is very difficult to ignore. If I\u2019m trying to read on one of those ancient planes where they silently display the film on a screen at the front, I keep looking up at it and losing my concentration, just as in the airport lounge already I will have been distracted by the silent news, and the mini frenzy of its montage.\u201d Usually when we say that something sounds like a translation, it\u2019s a bad thing, but Adam Thirlwell\u2019s new novel Lurid & Cute<\/a><\/em> sounds like brainy colloquial English translated into some slightly brainier (more formal? more poetic? more European?) idiom. We don\u2019t go around talking about \u201cancient planes\u201d or \u201cthe game shows and confessions,\u201d but Zeno might. That interplay between banality and beauty\u2014between the merely cute, or merely lurid, and deep ironic observation\u2014kept me hurrying back to the book. It is, as James Wood might say, \u201cunreliably unreliable\u201d\u2014either a parody or else the end point of a certain kind of wide-eyed man-boy narrator, like Jonathan Safran Foer on crystal, with a gun. \u2014Lorin Stein<\/strong><\/p>\n

\u201cThe incident was really quite typical, but still curious \u2026 And that\u2019s all.\u201d Most of Daniil Kharms\u2019s writing could be summed up this way\u2014this is, in fact, the way he began and ended a certain forty-five-word story. Several\u00a0of his\u00a0stories end with \u201cAnd that\u2019s it, more or less\u201d and\u00a0plenty\u00a0more do so in spirit. They\u2019re so casually, almost indifferently, related that they read like fables\u2014inexhaustible, with an underlying wisdom or moral that, in the case of\u00a0Kharms\u2019s work, is difficult to pinpoint. That\u2019s because, as Ian Frazier points out in his wonderful recent essay<\/a> in The New York Review of Books<\/em>, Kharms\u2019s work falls into a \u201csubgenre of cheerfully moronic writing\u201d that rejects any form of rationality. It\u2019s a kind of humor that can easily get lost in translation (or not\u2014I wonder how many Russians get it). Frazier\u2019s piece sent me running back to my own copy of Today I Wrote Nothing<\/em><\/a>, a selection of Kharms\u2019s writing.\u00a0I find that reading his prose and poetry requires a kind of\u00a0release, a letting go of expectations\u00a0and a faith that the nonsense will pay off. And it does.\u00a0A man pummels another man with his dentures. A man meets another man who\u2019s bought bread. A succession of\u00a0women\u00a0fall out the window until the\u00a0narrator\u00a0gets tired of watching.\u00a0And\u00a0that\u2019s it, more or less. \u2014Nicole Rudick<\/strong>\u00a0<\/p>\n

In a recent conversation with our editor, Lorin Stein, the cartoonist\u00a0Chris Ware talked about an image he used in his latest book, Building Stories<\/em><\/a>: he drew a pollinating bee in a panel that connected four disparate narratives. It was the kind of thing, he said, that would never fly in prose. I\u2019ve been thinking about that in regard to Alison Bechdel\u2019s graphic memoir Fun Home<\/em><\/a>, a book I very much love, which has now been made into a Broadway musical<\/a>. The adaptation makes sense. As media, comics and musicals share an advantage in that they can be more dramatic, their metaphors more prevalent, than your average work of prose; what would be too purple in a novel may feel just right in a graphic work. A musical, with its dance numbers, emotive solos, and general grandiosity, might be the perfect new form for Fun Home<\/em>. Ben Brantley of the\u00a0\u00a0New York Times<\/em><\/a> said, \u201cI can\u2019t think of a recent musical\u2014or play, for that matter\u2014that has done a better job at finding theatrical expression for the wayward dynamics of remembering.\u201d Staged at the intimate Circle in the Square Theater, the show has a set design that allows the audience to look into Bechdel\u2019s childhood home from all sides, as if surrounding the house and peering into its windows. The older Alison, a narrator of sorts, does the same thing with her memory: she haunts and considers every scene along with us. \u2014Jeffery Gleaves
<\/strong><\/p>\n

\"issue-22-cover\"<\/a>I\u2019ve found myself returning to Jordan Kisner\u2019s \u201cThin Places,\u201d an essay on obsessive-compulsive disorder in n+1<\/em>\u2019s Spring issue<\/a>. Kisner begins with a short description of DBS<\/a> (deep brain stimulation), an experimental approach to reversing neurosis of varying degrees: a woman, in this case one with an obsessive fear that she will kill a stranger, lies naked on a gurney, her head fastened to a cage-like brace that keeps the wires in place. Electrodes pass through her brain to Area 24, the ventral anterior cingulate. The hope is that DBS will alter her experience of reality\u2014will bring her closer to it\u2014so she\u2019s no longer plagued by her worries. Kisner reminds us that obsession<\/em> began as a term of warfare\u2014but she also gestures toward OCD\u2019s somewhat romantic and fantastical hold on the mind, even going so far as to call the disorder \u201cgorgeous.\u201d Here she is on the clinical psychologist Ian Jakes\u2019s observations in Theoretical Approaches to Obsessive-Compulsive Disorder<\/a><\/em>: \u201cD. S. was 29 and afraid that she might lose possession of her own thoughts, that they might travel from her head down her arms and escape through her fingertips into the world. She worried that she would leave a trail of ideas and images in her wake, clinging like residue to everything she touched.\u201d I\u2019m with Kisner here: \u201cI love this young woman with anxious fingers.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\n

Anne Garr\u00e9ta\u2019s debut novel,\u00a0Sphinx<\/a><\/em>\u2014published in French in 1986, and now available in English\u2014is just as cryptic as its title suggests. Garr\u00e9ta is part of the famous Oulipo group, created by French writers and mathematicians to produce literature under constraints. For Oulipian writers, books become fictive labs and literary experiments, inspiring riddles between authors and readers.\u00a0In\u00a0Sphinx<\/em>, though, the constraint becomes much more than a mere game; I would even venture to call it\u00a0political.\u00a0Sphinx\u00a0<\/em>is a genderless love story: every linguistic structure that could have revealed the gender of its two main characters has been withdrawn from the novel. Merciless and androgynous, this sphinx-like love soon renders gender stigmas pointless, even though, if you\u2019re as devious as I am, you can\u2019t help looking for some mistake Garr\u00e9ta might have made along the way. Emma Ramadan generously undertook the project of translating this pure Oulipian trick into English. \u2014Charlotte Groult<\/strong><\/p>\n

\"wealthgenius\"<\/a>I\u2019d always wanted my very own billionaire, and this week I got one. Her name is Randa Williams. She\u2019s an oil heiress from Houston. At the launch party for Wealth Genius<\/a> this week, I drew her name from a hat, so she is mine, all mine, and I want to tell the world about her. The people at Genius, the tech start-up that hopes to \u201cannotate the world,\u201d realized that very few of us know much about the world\u2019s richest people, despite their outsized influence on our lives. There are energy-drink billionaires and social-media billionaires and Panda Express billionaires, many of them as eccentric as the narrator of Barthelme\u2019s \u201cI Bought a Little City<\/a>\u201d\u2014and hardly a one of them rubs elbows with the hoi polloi. Who are<\/em> these people? The Wealth Genius project invites us to research the superrich and annotate their Wikipedia pages, thus closing the knowledge gap\u2014and maybe, eventually, the wealth gap, too. I\u2019ve learned precious little about Ms. Williams beyond her taste in fragrances (Laura Mercier L\u2019Heure Magique) and lotions (Yoo-Shea Whipped Shea Butter Cr\u00e8me), but I\u2019m relishing the chance to do some sleuthing. Feel free to join in; there are more than enough billionaires<\/a> to go around. \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cIn one corner of the room there was a television, and I find it difficult to avoid a television\u2014not because I am so intent on the game shows and confessions, but just because a moving image is very difficult to ignore. If I\u2019m trying to read on one of those ancient planes where they silently […]<\/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":[9793,7451,17911,2546,10718,11058,17450,17910,17909],"class_list":["post-85163","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-adam-thirlwell","tag-alison-bechdel","tag-anne-garreta","tag-chris-ware","tag-daniil-kharms","tag-genius","tag-ian-frazier","tag-jordan-kisner","tag-randa-williams"],"acf":[],"yoast_head":"\nStaff Picks: Thirlwell, Frazier, Garr\u00e9ta<\/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\" 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