{"id":91434,"date":"2015-10-30T09:29:44","date_gmt":"2015-10-30T13:29:44","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91434"},"modified":"2015-10-30T10:58:54","modified_gmt":"2015-10-30T14:58:54","slug":"is-there-a-doctor-in-the-house-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/30\/is-there-a-doctor-in-the-house-and-other-news\/","title":{"rendered":"Is There a Doctor in the House? And Other News"},"content":{"rendered":"<div id=\"attachment_91436\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/image.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-91436\" class=\"wp-image-91436\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/image.jpg\" alt=\"\" width=\"600\" height=\"498\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/image.jpg 440w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/image-300x249.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-91436\" class=\"wp-caption-text\">An ad for a show at the Grand Guignol.<\/p><\/div>\n<ul>\n<li>In search of some cosmic horror, something to give you seasonally appropriate nightmares, something outside the realm of the usual Lovecraft stuff? Try William Hope Hodgson, who in the early twentieth century \u201cenvisioned the end of the Earth in the distant future: 1908\u2019s <em>The House on the Borderland<\/em> features it in hallucinatory form, while 1912\u2019s <em>The Night Land<\/em> is set at a point where the sun\u2019s light has dimmed.\u201d Or try Thomas Ligotti, in whose stories \u201c<a href=\"http:\/\/hazlitt.net\/feature\/conspiracy-against-good-nights-sleep\" target=\"_blank\">the truths about the world that people discover are enough to tear them apart\u2014sometimes literally<\/a>. His protagonists often find themselves facing forces far beyond their ability to grapple with or comprehend. The therapist narrating \u2018Dream of a Manikin\u2019 is, ultimately, trapped in a series of collapsing realities; what begins as a simple, <em>Twilight Zone<\/em>-esque twist to the narrative gives way to a series of revelations beside which a simple \u2018everything you know is a lie\u2019 would be a comfort.\u201d<\/li>\n<li>Since the Tin Pan Alley era, if not earlier, pop music has been likened to an assembly line: even today people like to joke about \u201cthe hit factory,\u201d imagining the sleek, automated, international manufacturing process that generates our Top 40. But isn\u2019t the metaphor a bit stale, by now? \u201c<a href=\"http:\/\/www.thenation.com\/article\/its-an-old-trope-but-how-well-does-the-factory-model-explain-pop-music\/\" target=\"_blank\">A more accurate and illuminating way to understand today\u2019s pop might be to think of it as post-\u00adindustrial, a phenomenon not of the machine era but of the information age<\/a>. Music is made today by mining the vast digital repository of recordings of the past, or by emulating or referencing them through synthesis, and then manipulating them and mashing them up\u2014with the human fallibility and genius that have always laced popular music and probably always will. Indeed, it is accessing and processing\u2014the methods that digitalization facilitates\u2014rather than gearing and stamping for uniformity and mass production that distinguish twenty-first-century pop. Like machine-age plants everywhere, the song factories have closed, and the work of the day is being done electronically.\u201d<\/li>\n<li>And just as we\u2019re fond of the \u201chit factory\u201d metaphor, who doesn\u2019t enjoy a casual Grand Guignol reference from time to time? And yet who among us knows a thing about the <em>actual<\/em> Grand Guignol? \u201cThe Grand Guignol was originally founded in 1895 by French playwright Oscar M\u00e9t\u00e9nier. He purchased an old chapel located at the end of a tight alley, leaving the gothic, religious decorations intact. Wooden angels hung from the ceiling, and towered over the orchestra \u2026 In 1897, the theater was taken over by Max Maurey, who leaned into the Grand Guignol as a space for straight-up horror. Under Maurey\u2019s leadership, the theater ran a variety of plays, ranging from comedies to dramas \u2026 <a href=\"http:\/\/www.atlasobscura.com\/articles\/the-findesiecle-paris-theater-whose-performances-were-literally-torturous\" target=\"_blank\">He\u00a0was said to judge the success of a given play\u00a0by the number of audience members who passed out.\u00a0As a publicity stunt, he also hired a house doctor to administer to those who were adversely affected by the horrors on display<\/a> \u2026 Under Maurey\u2019s leadership, the plays at the Grand Guignol began focusing on tales of insanity, hallucination, and, above all, terror \u2026 involving figures like a child-killing nanny, a mad doctor who performs a vengeful lobotomy, and jealous women who stick a pair scissors in the eyes of a more beautiful woman.\u201d<\/li>\n<li>James Baldwin\u2019s once splendorous home in the Cote d\u2019Azur is in shambles now, as Thomas Chatterton Williams discovered when he broke in: He found \u201can extremely wide and shallow expanse of overgrown grass, orange trees, cypresses, wild lavender, and palms that gives sweeping views of the walled town above, the sun-drenched valley below, and, in the distance, the Mediterranean\u2019s rippling sheen. The stone barrier wall had been broken a truck\u2019s width and re-sealed with a chain-link fence that begged to be circumvented. I crouched and pulled out the cinderblock that stabilized it \u2026 I could not stop myself from attaching a deep significance to that ruined house in the foothills of the Alps, overlooking a distant sea. <a href=\"http:\/\/www.newyorker.com\/news\/news-desk\/breaking-into-james-baldwins-house\" target=\"_blank\">The thought that one of the most gifted and munificently alive writers of the twentieth century, the quintessential black American in France, would soon be rid of his only geographical footprint \u2026 struck me as unbearably sad<\/a>.\u201d<\/li>\n<li>Ai Weiwei ordered Legos in bulk. The corporation refused to fulfill his order, claiming that they \u201ccannot approve the use of Legos for political works.\u201d This made Ai Weiwei upset, as one might imagine. He decided to procure Legos the old-fashioned way: through the sunroofs of BMWs. \u201cAi Weiwei would like to rent, borrow or buy second-hand a BMW 5S Series sedan, of which the color can vary, as a Lego container,\u201d he wrote on his Instagram. \u201cThe vehicle must have clear windows and a sunroof that can be fixed open with a five cm opening so that people can insert Legos \u2026 The car should be parked and locked in a central location of the city that can be easily accessed by the public. The vehicle should remain in the parking space for one month or a longer period of time, preferably in a location related to arts or culture, indoor or outdoor.\u201d <a href=\"http:\/\/www.slate.com\/blogs\/future_tense\/2015\/10\/27\/ai_weiwei_s_clever_protest_against_lego.html\" target=\"_blank\">Some laud his willfully bizarre effort to fight censorship. Others think it\u2019s what Jed Perl has called \u201cpolitical kitsch\u201d<\/a>: \u201cone wonders where the political dissent ends and the artsy attitudinizing begins.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In search of some cosmic horror, something to give you seasonally appropriate nightmares, something outside the realm of the usual Lovecraft stuff? Try William Hope Hodgson, who in the early twentieth century \u201cenvisioned the end of the Earth in the distant future: 1908\u2019s The House on the Borderland features it in hallucinatory form, while 1912\u2019s [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[6713,20013,865,20016,9036,881,11525,52,3863,44,20015,20014],"class_list":["post-91434","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-ai-weiwei","tag-cosmic-horror","tag-france","tag-grand-guignol","tag-horror","tag-james-baldwin","tag-legos","tag-pop-music","tag-protests","tag-theater","tag-thomas-ligotti","tag-william-hope-hodgson"],"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>The History of the Grand Guignol Is Expectably Terrifying<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup...\" \/>\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\/10\/30\/is-there-a-doctor-in-the-house-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Is There a Doctor in the House? 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