{"id":91253,"date":"2015-10-23T17:55:39","date_gmt":"2015-10-23T21:55:39","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91253"},"modified":"2016-04-03T18:15:44","modified_gmt":"2016-04-03T22:15:44","slug":"staff-picks-passing-saviors-psycho-sitters","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/23\/staff-picks-passing-saviors-psycho-sitters\/","title":{"rendered":"Staff Picks: Passing Saviors, Psycho Sitters"},"content":{"rendered":"
\"\"<\/a>

Marilyn Monroe in Don\u2019t Bother to Knock<\/i>, 1952.<\/p><\/div>\n

Before The Hand That Rocks the Cradle<\/em>, Don\u2019t Tell Mom the Babysitter\u2019s Dead<\/em>, or Blue Sunshine<\/em>, there was Mischief<\/a><\/em>, Charlotte Armstrong\u2019s 1950 suspense novel and home of the original psychotic babysitter. The story, newly reissued in Sarah Weinman\u2019s anthology Women Crime Writers<\/em><\/a>, follows an out-of-town couple in a Manhattan hotel; for a night out on the town, they leave their only daughter in the care of a meek woman who knows the elevator guy. (Good help is so hard to find.) From there things go quickly south. Armstrong\u2019s fixation on social mores, on the subtle ways we pay obesiance to convention, reminds me of John O\u2019Hara\u2014Mischief<\/em>\u2019s crazy sitter has an implacable ennui that would put her right at home in the pages of Appointment in Samarra<\/em>. Her violence is motivated by sheer boredom, and her psychology makes the novel eerily effective, even in its clunkier moments: Armstrong tapped into postwar fears about class and belonging in a new and terrifying way. Two years later the book was adapted in Don\u2019t Bother to Knock<\/a><\/em>, with Marilyn Monroe and Richard Widmark; \u201cThe female race,\u201d says the latter, \u201cis always cheesing up my life!\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

In The Act of Killing<\/a><\/em>, a 2012 documentary, the directors Joshua Oppenheimer and Christine Cynn travel to Medan, Indonesia, where they film the feared and vaunted Anwar Congo, Adi Zulkadry, and Herman Koto: deified \u201cgangsters\u201d of the paramilitary Pancasila youth. Congo and co. are family men, cinephiles, and mass murderers who have never faced punishment for their crimes. They\u2019re invited by Oppenheimer and Cynn to make a film about their contribution to the mass killings of 1965\u20131966, in which a\u00a0million alleged communists lost their lives. In it they dramatize their \u201cglory days,\u201d abiding by their favorite Hollywood tropes (gangster, western, musical). In one scene, on a rooftop, Congo explains his preferred method of killing: strangulation by wire. In another, we watch him gently admonish his two grandsons for treating some backyard chicklets with too rough a touch. As the camera rolls on, we see Congo\u2019s defenses against remorse and self-disgust erode. Watching these scenes you sense him begging for his comeuppance\u2014\u201cI\u2019m always gazed at by those eyes I didn\u2019t close\u201d\u2014but a full admission of guilt is slow to arrive. It\u2019s probably best to take this one in over several viewings, with a bottle of something strong nearby. Then watch The Look of Silence<\/em><\/a>. <\/em>\u2014Joshua Maserow\u00a0<\/strong><\/p>\n

I fear too many people mistake Iris DeMent\u2019s voice as a hokey parody, because she sometimes plays that role<\/a>. Her singing sounds old, yes, but it has an unshakable, antique backwater sincerity that I admire. DeMent was raised in the Pentecostal church, and you can hear it especially when she\u2019s belting out old hymns like \u201cPass Me Not, O Gentle Savior<\/a>\u201d\u00a0in a way that appeals to even the staunchest atheist. Today she\u2019s not associated with any church; her music celebrates the comfort found in acknowledging origins. In other words, she takes nostalgia seriously. \u201cWhat I heard was gospel church music,\u201d she recently told Terry Gross<\/a>, \u201cand it was by real people that I knew and whose lives overlapped with mine until I was about five years old.\u201d Her new album, The Trackless Woods<\/a><\/em>, sets to music the poetry of Russian born Anna Akhmatova, whom Stalin named an enemy of the state. The dirge-like country-cum-Russian-revolutionary tracks show a new side of her old style. \u2014Jeffery Gleaves<\/strong><\/p>\n

\"9781853993251\"<\/p>\n

I read my way through two short books this week: Dorothy Baker\u2019s\u00a0Cassandra at the Wedding<\/em>\u2014previously \u201cpicked\u201d<\/a>\u2014and Raymond Radiguet\u2019s\u00a0The Devil in the Flesh<\/em>, a largely autobiographical novel that details a fifteen-year-old\u2019s love affair with an older, married woman. (Radiguet, who died at the age of twenty, was only eighteen when he wrote it.)\u00a0I came to Radiguet\u2019s work by way of Jean Cocteau\u2019s 1964\u00a0Paris Review<\/em>\u00a0interview<\/a>, in which he offers an account of Radiguet\u2019s precocity:<\/p>\n

\n

He was remarkable in that he began perfectly from the beginning, without error \u2026\u00a0He slept on the floor or on a table from house to house of the various painters. Then in the summer vacation with me on the Bay of Arcachon he wrote\u00a0The Devil in the Flesh<\/em>; Bal du Comte d\u2019Orgel he did not even write, but sat and dictated to Georges Auric, who tapped it out on the machine as they went. I looked on, and he simply talked it all out. Rapidly and effortlessly. And it is flawless style. He was a Chinese Mandarin with the na\u00efvet\u00e9 of a child.<\/p>\n<\/blockquote>\n

Both novels are told from the prospective of uniquely neurotic\u00a0and, at times, petulant narrators. But it was Baker\u2019s Cassandra\u2014headier, more exacting, infinitely more endearing\u2014who lingered in my mind. \u2014Stephen Hiltner<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Before The Hand That Rocks the Cradle, Don\u2019t Tell Mom the Babysitter\u2019s Dead, or Blue Sunshine, there was Mischief, Charlotte Armstrong\u2019s 1950 suspense novel and home of the original psychotic babysitter. The story, newly reissued in Sarah Weinman\u2019s anthology Women Crime Writers, follows an out-of-town couple in a Manhattan hotel; for a night out on […]<\/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":[19853,19940,19407,7816,19939,19941,883],"class_list":["post-91253","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-charlotte-armstrong","tag-christine-cynn","tag-dorothy-baker","tag-iris-dement","tag-joshua-oppenheimer","tag-raymond-radiguet","tag-staff-picks"],"acf":[],"yoast_head":"\nStaff Picks: Passing Saviors, Psycho Sitters by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 23, 2015 \u2013 Before The Hand That Rocks the Cradle, Don\u2019t Tell Mom the Babysitter\u2019s Dead, or Blue Sunshine, there was Mischief, Charlotte 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