{"id":85595,"date":"2015-05-08T19:05:13","date_gmt":"2015-05-08T23:05:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=85595"},"modified":"2015-05-09T10:29:25","modified_gmt":"2015-05-09T14:29:25","slug":"staff-picks-crosscurrents-kandy-kat-casino-cohesion","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/","title":{"rendered":"Staff Picks: Crosscurrents, Kandy Kat, Casino Cohesion"},"content":{"rendered":"
\"\"<\/a>

Charles Burchfield, Tile Roof<\/i>, 1930\u201343, watercolor, gouache, and charcoal on paper, mounted on board, 24 3\/8″ x 35 7\/8″. Photo via D.C. Moore<\/p><\/div>\n

In my mind, I\u2019ve created a dream exhibition of portraiture by Alice Neel, Mickalene Thomas, and Hope Gangloff: crosscurrents of eroticism, identity, bodies, and embellishment. For now, I\u2019ll settle for a show of new portraits by Gangloff<\/a>, whose paintings are gratifyingly overstuffed with garish details rendered in contrasting patterns and in nips of fluorescent orange and extravagant swathes of hot pink. There\u2019s a funny play between color and patterning in her work\u2014the elements are at once discordant and of a piece, excessive and sensible. There\u2019s something of that, too, in Charles Burchfield\u2019s waterc<\/a>olors<\/a>, on view a couple blocks south. Burchfield saw a second plane of reality, a spiritual palimpsest shimmering over the world you and I see. The scenes he painted are heightened versions of the real thing, electrified and otherworldly but always recognizable. In a study of what looks like a denuded landscape, his ghostly outlines of trees become visible, lightly filling in and giving life to the empty hills. Color also seems to exist in the spiritual realm. A note on an ink sketch reads, \u201cLeaves a hot red (tinged with umber?), as glowing embers of a dying fire.\u201d \u2014Nicole Rudick
<\/strong><\/p>\n

\"12<\/a>Adrian Rew\u2019s Slot Machine Music<\/a><\/em> is just that\u2014forty minutes of field recordings from casinos in Cleveland, Illinois, and Indiana. Lest you dismiss this as a lark from some stoner anthropologist, remember that casinos are among the most controlled environments on the planet, microdesigned to anesthetize our sense of time. In his liner notes, Rew explains that \u201coxygen-saturated pleasure air, subtly controlling walkways, mesmerizing lights, and \u2026 meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.\u201d To collude in \u201charmonic cohesion,\u201d game designers generally tune their machines to C major, a key affiliated with simplicity and happiness; some manufacturers spend months perfecting a single ding<\/em>. Thus the din of slots in unison, which should be a world-class cacophony, is mellifluous, even seductive; it doesn\u2019t take a genius to liken this to church music. But for their ambient beauty, Rew\u2019s soundscapes are inescapably tragic, all the more so when human voices bleed through. \u201cYou\u2019ll just have to wait a minute, Mom,\u201d we hear one woman say. \u201cI know that\u2019s hard<\/em> for you.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

\"9780062388698\"<\/a>Alexandra Kleeman\u2019s first story, \u201cFairy Tale,\u201d was published in our Winter 2010 issue<\/a>; she said in an interview on the Daily<\/em><\/a>, \u201cI was trying to be funny and I\u2019m naturally very serious. I hope it\u2019s kind of funny.\u201d Her debut novel, You Too Can Have A Body Like Mine<\/a><\/em>, is, naturally, both hilarious and deadly serious. Its recurring descriptions of a commercial the nameless narrator watches on TV\u2014with the Trix Rabbit\u2013like Kandy Kat, who, like Sisyphus, is forever chasing and being denied his favorite snack\u2014and its wacky cult, \u201cConjoined Eaters\u00a0Church,\u201d are delightfully entertaining. But the dark material of desire, consumption, and feeling at home in your own skin drive the novel\u2019s philosophical engine. The jacket copy compares her, not undeservingly, to\u00a0Pynchon and DeLillo. It\u2019s the smartest, strangest novel I\u2019ve read in a while. \u2014Jeffery Gleaves<\/strong><\/p>\n

\"Screen<\/a>Before emoji, even before emoticons, there was ASCII art, whose beginnings can be traced to the midsixties, when Bell Labs programmers Kenneth C. Knowlton and Leon Harmon began experimenting with the photomosaic capabilities of fixed-width typographical symbols. The art form remained largely unknown outside programming circles until the early nineties, when online chat rooms adopted textual representations of visual conversation cues. As ASCII art flourished in Internet culture, it found a soul mate in that other nineties novelty, the stereogram\u2014more popularly known as 3D Magic Eye. ASCII stereograms are largely forgotten today, but they still languish in the nether realms of what\u2019s known as the \u201cOld Internet,\u201d a sort of virtual ghost town where outmoded constructs of the Web 1.0 era wait to die. The unassuming Chris.com has a great gallery of images<\/a>, a step-by-step tutorial, and links to tools that will, if you\u2019re so inclined, help you make your own. \u2014Andrew Jimenez<\/strong><\/p>\n

In her speech at our Spring Revel this year, Dame Hilary Mantel admired William Trevor\u2019s take on short fiction as \u201can art of the glimpse<\/a>.\u201d \u201cA glimpse is not trivial,\u201d she said: \u201cthe short story can contain a world \u2026 The strength in the short story \u2018lies in what it leaves out.\u2019 \u201d This week\u2019s\u00a0London Review of Books<\/em>\u00a0features new fiction from Mantel herself in \u201cThe School of England<\/a>,\u201d where she showcases Trevor\u2019s meaning. The story is set in a panic room; a butler is showing the new housemaid, Marcella, where to clean. Marcella\u2019s traumatic backstory compels us to trust her, but her credibility wavers: her conviction ebbs, the details of her violation change, and she herself wonders if she isn\u2019t a \u201cfabricator\u201d of the story she tells\u2014if it doesn\u2019t perhaps belong to someone else. Mantel abstains from tidy resolution, accomplishing what she aspires to in her historical fiction: to \u201callow the reader to live with the ambiguities<\/a>.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\n

\u201cShe never inquired, but she never recoiled, either. This is a quality that I look for in a person, not recoiling.\u201d Miranda July\u2019s collection No One Belongs Here More Than You<\/em><\/a> is full of these voices: people who expect little, yet still cannot seem to obtain it.\u00a0It\u2019s also full of thoughtful observations about the lives people never planned for, yet find themselves in; and their confrontation, or lack thereof, with reality. July\u00a0writes on both the delusions of youth\u00a0(\u201cWe felt like orphans and we felt deserving of the pity that orphans get, but embarrassingly enough, we had parents\u201d) and the disillusion of middle age.\u00a0Her characters fail to connect and retreat into wistful fantasy; \u201cwhat a terrible mistake,\u201d after all, \u201cto let go of something wonderful for something real.\u201d \u2014Kit Connolly<\/strong><\/p>\n

Just when you thought Brooklyn didn\u2019t need another reading series, here comes Peck\u2019s Book\/Plate<\/a>, hosted by Jeff Waxman, Peck\u2019s Specialty Foods, and Greenlight bookstore. The events are held on Peck\u2019s backyard patio in Clinton Hill, where all meals are served family style, creating a level of intimacy that feels more like a barbecue than a stuffy reading. The readings often turn into impromptu dinner-lecture presentations, while patrons feast and imbibe; each ticket comes with a copy of the book. Next Sunday, May 17, Jim Shepard will read from his latest novel<\/a>, The Book of Aron<\/em><\/a>, which the chef Theo Peck has \u201cpaired\u201d with lamb belly confit pirogies, caramelized apples, and cr\u00e8me fra\u00eeche. \u2014J.G.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In my mind, I\u2019ve created a dream exhibition of portraiture by Alice Neel, Mickalene Thomas, and Hope Gangloff: crosscurrents of eroticism, identity, bodies, and embellishment. For now, I\u2019ll settle for a show of new portraits by Gangloff, whose paintings are gratifyingly overstuffed with garish details rendered in contrasting patterns and in nips of fluorescent orange […]<\/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":[18065,1513,18067,14227,18063,18064,18066,2153,18062,3644,4060,18068,1624],"class_list":["post-85595","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-adrian-rew","tag-alexandra-kleeman","tag-ascii-art","tag-casinos","tag-charles-burchfield","tag-d-c-moore","tag-field-recordings","tag-hilary-mantel","tag-hope-gangloff","tag-jim-shepard","tag-miranda-july","tag-pecks-bookplate","tag-william-trevor"],"acf":[],"yoast_head":"\nStaff Picks: Mantel, Kleeman, Burchfield<\/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\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Crosscurrents, Kandy Kat, Casino Cohesion by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"May 8, 2015 \u2013 In my mind, I\u2019ve created a dream exhibition of portraiture by Alice Neel, Mickalene Thomas, and Hope Gangloff: crosscurrents of eroticism, identity,\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-05-08T23:05:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-05-09T14:29:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/05\/tile_roof_gardenville_0665_adj1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"625\" \/>\n\t<meta property=\"og:image:height\" content=\"423\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Crosscurrents, Kandy Kat, Casino Cohesion\",\"datePublished\":\"2015-05-08T23:05:13+00:00\",\"dateModified\":\"2015-05-09T14:29:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/\"},\"wordCount\":1139,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/08\/staff-picks-crosscurrents-kandy-kat-casino-cohesion\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/05\/tile_roof_gardenville_0665_adj1.jpg\",\"keywords\":[\"Adrian Rew\",\"Alexandra Kleeman\",\"ASCII art\",\"casinos\",\"Charles Burchfield\",\"D.C. 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