{"id":90843,"date":"2015-10-14T11:30:00","date_gmt":"2015-10-14T15:30:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90843"},"modified":"2015-10-14T16:51:39","modified_gmt":"2015-10-14T20:51:39","slug":"big-bent-ears-epilogue-were-not-actually-here","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/14\/big-bent-ears-epilogue-were-not-actually-here\/","title":{"rendered":"Big, Bent Ears, Epilogue: We\u2019re Not Actually Here"},"content":{"rendered":"
\"Joseph<\/a>

Joseph Mitchell amid the wreckage of Lower Manhattan.<\/p><\/div>\n

\u201cBig, Bent Ears<\/a>,\u201d our ten-chapter multimedia series with Rock Fish Stew, has come to a close. Over the past seven months, this \u201cserial in documentary uncertainty\u201d has enfolded a host of writers, artists, and musicians, including Joseph Mitchell, Jonny Greenwood, tUnE-yArDs, Sally Mann, Cormac McCarthy, Grouper, Nazoranai, Matthias Pintscher, Tyondai Braxton, the JACK Quartet, Swans, Tacita Dean, and Cy Twombly, as well as artists of a different stripe: a family of piano tuners, a chef, a translator, and, of course, a documentary team. There were also multiple audiences, an earthquake, strangers on a train, and the city of Knoxville.<\/p>\n

We\u2019ll leave you with an epilogue in which Sam Stephenson and Ivan Weiss return to Mitchell\u2019s midcentury chronicles of New York City and sift one more time through his collected objects. This postscript is also an introduction to a filmed interview with Laurie Anderson, whose comments typify the spirit of uncertainty that binds the series.<\/p>\n

\u00a0Read the epilogue here<\/a>, and catch up on the rest of the series:<\/p>\n