{"id":88431,"date":"2015-07-31T13:28:01","date_gmt":"2015-07-31T17:28:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88431"},"modified":"2015-07-31T18:53:13","modified_gmt":"2015-07-31T22:53:13","slug":"staff-picks-local-news-livid-librarians-loving-it-all","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/07\/31\/staff-picks-local-news-livid-librarians-loving-it-all\/","title":{"rendered":"Staff Picks: Local News, Livid Librarians, Loving It All"},"content":{"rendered":"<div id=\"attachment_88432\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/james-baldwin-the-price-of-the-ticket_592x299.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-88432\" class=\"wp-image-88432\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/james-baldwin-the-price-of-the-ticket_592x299.jpg\" alt=\"james-baldwin-the-price-of-the-ticket_592x299\" width=\"600\" height=\"303\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/james-baldwin-the-price-of-the-ticket_592x299.jpg 592w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/james-baldwin-the-price-of-the-ticket_592x299-300x152.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-88432\" class=\"wp-caption-text\">A still from <i>James Baldwin: The Price of the Ticket<\/i><\/p><\/div>\n<p>When Ingrid Sischy died last week, most obituaries remembered her primarily as the editor of <em>Interview<\/em>, which she was, for eighteen years. But I\u2019ve always thought of her as an ex-editor of <em>Artforum<\/em>, which she ran for most of the eighties. That decade saw a profound change in what was considered art, how it would be exhibited, and how it would be discussed in, among other places, the most important art magazine of the day\u2014and Sischy, the first woman editor of <em>Artforum<\/em>, was the right man for the job. I\u2019m grateful to our publisher, Susannah Hunnewell, for sending me Janet Malcolm\u2019s magnificent \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/1986\/10\/20\/a-girl-of-the-zeitgeist-i\" target=\"_blank\">A Girl of the Zeitgeist<\/a>,\u201d a <a href=\"http:\/\/www.newyorker.com\/magazine\/1986\/10\/20\/a-girl-of-the-zeitgeist-i\" target=\"_blank\">two<\/a>&#8211;<a href=\"http:\/\/www.newyorker.com\/magazine\/1986\/10\/27\/ii-a-girl-of-the-zeitgeist\" target=\"_blank\">part<\/a> article on Sischy and <em>Artforum<\/em>\u00a0and the art world that appeared in <em>The New Yorker <\/em>in 1986. In the process of profiling Sischy, Malcolm provides generous sketches of the magazine\u2019s earlier years as well as the concerns of Sischy\u2019s day, including the \u201ctrial\u201d of Richard Serra\u2019s <em>Tilted Arc<\/em>\u00a0and the \u201cPrimitivism\u201d show at MoMA. Sischy\u2019s fair-mindedness and originality as an art editor come to the fore, but so does the silliness of art-world kerfuffles and the startling differences between generations and modes of thought. Malcolm, for instance, reproduces a very pissy response by the critic Barbara Rose in which she decries Sischy\u2019s <em>Artforum<\/em>\u00a0as a \u201cmedia magazine\u201d and pits her cohorts, who were \u201call very impressed by Wittgenstein and by Anglo-American philosophy,\u201d against Sontagian cultural permissiveness, in which \u201cyou could just love everything that was going on, you could be positive and optimistic and just love it all.\u201d \u2014<strong>Nicole Rudick<\/strong><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/k10442.gif\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-88433\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/k10442.gif\" alt=\"k10442\" width=\"200\" height=\"304\" \/><\/a>One of the many perceptive essays in <em><a href=\"http:\/\/press.princeton.edu\/titles\/10442.html\" target=\"_blank\">The Meaning of the Library<\/a> <\/em>(it doesn\u2019t beg to be taken to the beach, I know) is Laura Marcus\u2019s \u201cThe Library in Film: Order and Mystery,\u201d which finds compelling motifs in movie scenes set in libraries. On film, it seems, our libraries are presented with curious regularity as mazes (Hitchcock\u2019s <em>Blackmail<\/em>), haunted repositories of secrets (<em>Ghostbusters<\/em>, James Bridges\u2019s <em>The Paper Chase<\/em>), dusty Egyptological tombs (Alain Resnais\u2019s <em>Toute la m\u00e9moire du monde<\/em>), or utopias of knowledge (Wim Wenders\u2019s <em>Wings of Desire<\/em>). \u201cIt is striking,\u201d Marcus writes, \u201chow so many films have taken up these questions of order and of mystery or confusion, as well as ideas of haunting in relationship to the book and the library.\u201d She finds intriguing outliers, too, such as 1932\u2019s <em>Forbidden<\/em>, in which Barbara Stanwyck\u2019s bitter small-town librarian, having endured insults from local children, says, \u201cI wish I owned this library \u2026 I\u2019d get an axe and smash it to a million pieces, then I\u2019d set fire to the whole town and play a ukulele while it burned.\u201d \u2014<strong>Dan Piepenbring <br \/> <\/strong><!--more--><\/p>\n<p>\u201cWhen you were starting out as a writer, you were black, impoverished, homosexual. You must\u2019ve said to yourself, \u2018Gee, how disadvantaged can I get?\u2019 \u201d Confronted by this question just a few minutes into the 1989 documentary <em><a href=\"http:\/\/www.pbs.org\/wnet\/americanmasters\/episodes\/james-baldwin\/film-james-baldwin-the-price-of-the-ticket\/2632\/\" target=\"_blank\">James Baldwin: The Price of the Ticket<\/a><\/em>, presented last Monday at the IFC Center as part of <em><a href=\"http:\/\/www.ifccenter.com\/series\/queerartfilm\/\" target=\"_blank\">Black Summer Nights<\/a><\/em>, a series of film screenings by Queer\/Art\/Film. The audience laughed along with the writer, but a greater laugh met Baldwin\u2019s response: \u201cNo, I thought I\u2019d hit the jackpot.\u201d The documentary shows a writer as compellingly multiple, mercurial, in person as he is in print; Baldwin, it\u2019s never been clearer, is a man of many voices, who speaks for, and to, many people. These impassioned voices resounded through the discussion of race, writing, and community that followed the screening, curated by the filmmaker Stephen Winter and poet Pamela Sneed, with Jacqueline Woodson as a guest speaker. August 17 will see the series\u2019s final installment, a showing of F. Gary Gray\u2019s <em>Friday<\/em>, followed by a discussion with the poet Angel Nafis.\u00a0\u2014<strong>Chloe Currens<\/strong><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/harlem.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-88435 alignright\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/harlem.jpeg\" alt=\"harlem\" width=\"200\" height=\"267\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/harlem.jpeg 2448w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/harlem-225x300.jpeg 225w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/harlem-768x1024.jpeg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a>If you\u2019re heading to the Studio Museum in Harlem, make sure you go upstairs. Actually, the museum occupies a small brownstone <a href=\"http:\/\/www.nytimes.com\/2015\/07\/06\/arts\/design\/studio-museum-in-harlem-unveils-design-for-expansion.html\" target=\"_blank\">for now<\/a>, so if you want to see anything you\u2019re going to have to walk upstairs. But up past the gift shop, past the postcards in the lobby and the photographs below, past even <a href=\"http:\/\/www.newyorker.com\/magazine\/2015\/08\/03\/shapes-and-colors\" target=\"_blank\">the Stanley Whitney paintings<\/a>, you come to \u201cEverything, Everyday,\u2019 the exhibition of the museum\u2019s Artists-in-Residence, Sadie Barnette, Lauren Halsey, and Eric Mack. Maybe I\u2019m biased because I saw the title and spiel before the work itself, but I have a hard time approaching the three as a group without those two words circumscribing a frame: <em>everything<\/em>,<em> everyday.<\/em> From Lauren Halsey\u2019s immersive cluttered environments to Sadie Barnette\u2019s wall-length family trees, there\u2019s a sense of grandeur, of everything, that can\u2019t be distinguished from the amassing of particulars, of every little thing. The eye is often directed to a detail\u2014a rubber ball, a Barbie doll\u2014that it can neither distinguish from nor blend with the rest. The result? \u201cA hieroglyphic reliefs set in an interplanetary desert oasis.\u201d Eventually you really should walk down. There\u2019s still a whole museum below you. \u2014<strong>Jake Orbison<\/strong><\/p>\n<p>I recently salvaged Kay Ryan\u2019s forthcoming collection, <em><a href=\"http:\/\/www.indiebound.org\/book\/9780802124050\" target=\"_blank\">Erratic Facts<\/a><\/em>, from <em>The Paris Review<\/em>\u2019s donation shelf, and I\u2019ve been reading it bit by bit over breakfast all week. Anyone familiar with Ryan, a Pulitzer Prize\u2013winner and two-time poet laureate, won\u2019t be surprised by her latest work. Like its predecessors, <em>Erratic Facts <\/em>is a series of bite-size poems that emerge into massive meditations on topics like love, fear, and memory\u2014and that beg to be read two, three, or ten times over. In this collection, I\u2019ve found myself especially taken by Ryan\u2019s tendency to begin in the middle of a mundane moment. \u201cThere doesn\u2019t seem \/ to be a crack,\u201d begins the poem \u201cAll You Did,\u201d and then somehow, quickly, I\u2019m remembering all I\u2019ve ever done. \u00a0\u2014<strong>Jane Robbins Mize<\/strong><\/p>\n<p>I thought I\u2019d found my trashy Netflix pick when I saw Jake Gyllenhaal\u2019s face staring back at me, advertising last year\u2019s <a href=\"http:\/\/www.imdb.com\/title\/tt2872718\/\" target=\"_blank\"><em>Nightcrawler<\/em><\/a>. I was promptly disappointed to learn how good the movie actually is. A noir thriller of sorts, it follows Gyllenhaal\u2019s psychopathic Louis Bloom as he discovers the world of freelance news cameramen in Los Angeles; he buys a police scanner and a camera, hoping to sell footage of gruesome car accidents to the local news channel. Things go pretty well until, arriving before the cops, he begins tampering with crime scenes to get better shots, dragging bodies into better lighting. Bloom\u2019s lust for good B-roll eventually entangles him in criminal activity. It\u2019s hard for a movie to focus on this kind of amoral character for two hours without straining credulity, but Gyllenhaal pulls it off by escalating Bloom\u2019s drive, making him not so much misanthropic as simply indifferent: his Aspergerian character evolves to a state of complete apathy. <em>Nightcrawler<\/em> has the kind of slow psychological boil that makes good noir, where a slightly off fact at the beginning unleashes chaos at the end. \u2014<strong>Jeffery Gleaves<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When Ingrid Sischy died last week, most obituaries remembered her primarily as the editor of Interview, which she was, for eighteen years. But I\u2019ve always thought of her as an ex-editor of Artforum, which she ran for most of the eighties. That decade saw a profound change in what was considered art, how it would [&hellip;]<\/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":[18983,18978,881,42,1971,18979,18982,7148,18984,18981,18980],"class_list":["post-88431","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-eric-mack","tag-ingrid-sischy","tag-james-baldwin","tag-janet-malcolm","tag-kay-ryan","tag-laura-marcus","tag-lauren-halsey","tag-libraries","tag-nightcrawler","tag-sadie-barnette","tag-studio-museum"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staff Picks: Janet Malcolm on Ingrid Sischy<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review 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\/07\/31\/staff-picks-local-news-livid-librarians-loving-it-all\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Local News, Livid Librarians, Loving It All by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"July 31, 2015 \u2013 When Ingrid Sischy died last week, most obituaries remembered her primarily as the editor of Interview, which she was, for eighteen years. 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