{"id":92079,"date":"2015-11-18T08:59:01","date_gmt":"2015-11-18T13:59:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=92079"},"modified":"2015-11-18T10:49:08","modified_gmt":"2015-11-18T15:49:08","slug":"a-century-of-censorship-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/18\/a-century-of-censorship-and-other-news\/","title":{"rendered":"A Century of Censorship, and Other News"},"content":{"rendered":"<div id=\"attachment_92081\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/audrey-munson-con-daniel-chester-french.-autor-desconocido-dp.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-92081\" class=\"wp-image-92081\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/audrey-munson-con-daniel-chester-french.-autor-desconocido-dp.jpg\" alt=\"\" width=\"600\" height=\"441\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/audrey-munson-con-daniel-chester-french.-autor-desconocido-dp.jpg 640w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/audrey-munson-con-daniel-chester-french.-autor-desconocido-dp-300x220.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-92081\" class=\"wp-caption-text\">Audrey Munson, in a still from <i>Inspiration<\/i>.<\/p><\/div>\n<ul>\n<li>Our new anthology, <em><a href=\"http:\/\/store.theparisreview.org\/products\/the-unprofessionals-new-american-writing-from-the-paris-review\" target=\"_blank\">The Unprofessionals<\/a><\/em>, is out now. What does it mean to be unprofessional, you ask? In many cases, it\u2019s as easy as spitting in someone\u2019s food or showing up to work in bondage gear. But if you\u2019re a writer, escaping the rising tide of professionalism proves more difficult. Fortunately, our editor, Lorin Stein, has some advice: \u201c<a href=\"http:\/\/www.theatlantic.com\/entertainment\/archive\/2015\/11\/by-heart-lorin-stein-paris-review-denis-johnson\/416181\/\" target=\"_blank\">The stories that excite me most tend to have three qualities<\/a>. First there\u2019s a voice, a narrator who urgently needs to speak. Even if they never say \u2018I.\u2019 Second, the narrator tries to persuade you that he or she is telling the truth. The third thing is, for lack of a better word, wisdom. A kind of moral authority, or at least the effort to settle a troubled conscience \u2026 There\u2019s a kind of realism\u2014not just in stories, but in poems and essays\u2014that assumes we live in dishonesty, that we lie to others and ourselves as a matter of survival, but that part of us knows the truth when we see it. That\u2019s what interests me: the truths we can\u2019t tell except when we put on the mantle of this authority.\u201d\u00a0<\/li>\n<li>Karl Ove Knausgaard hears this voice, too: \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/vanishing-point?mbid=social_twitter\" target=\"_blank\">The novel is an oddly intimate genre: at root, it is always a matter between two individuals, writer and reader<\/a>, whose first encounter occurs when the writer writes\u2014for in writing, the very act of it, there is always an appeal to a\u00a0<em>you<\/em>, redeemed only by the insertion of a reader. This\u00a0<em>you\u00a0<\/em>may be inserted at any time, even hundreds of years after the event of writing, the way, for instance, we might read a novel written in seventeenth-century Spain, or eighteenth-century Russia, or early-twentieth-century Germany, and yet still induce the voice of the self to rise anew within us, remoteness dissolving. And that self may also reveal itself to us in the reading of novels from places geographically remote to us, such as China, Kenya, Colombia.\u201d<\/li>\n<li>A century ago today, on November 18, 1915, cinema saw its first nude woman, and people have been in a tizzy over sex and censorship on-screen ever since: \u201c<a href=\"http:\/\/www.economist.com\/blogs\/prospero\/2015\/11\/cinematic-obscenity-america?fsrc=scn\/tw\/te\/pe\/ed\/Ahundredyearsofoverbaringcensors\" target=\"_blank\">The bare breasts and buttocks of Audrey Munson, the actress in <em>Inspiration<\/em>, seemed to enter the public consciousness only obliquely<\/a>. One contemporary critic wrote that the film was \u2018both inspiring and intellectual,\u2019 with Munson giving a performance of \u2018innocence, modesty, and simplicity\u2019; others noted that it was \u2018daring\u2019 and a \u2018triumph of Film Art.\u2019 One, the\u00a0<em>Daily Capital Journal<\/em>, scoffed at the idea of anyone being offended by it. After all, it pointed out, this is a work of \u2018extreme artistic and educational value,\u2019 not a titillating striptease.\u201d<\/li>\n<li>Today in nests and nesting: in Zvenigorod, forty miles west of Moscow, there stands a cathedral with a wealth of rare printed matter hidden inside: letters, newspaper clippings, candy wrappers, banknotes, some as old as the early nineteenth century. For this horn of archival plenty, we can thank the birds: \u201c<a href=\"http:\/\/hyperallergic.com\/253755\/new-discovery-in-a-cathedral-attic-suggests-birds-are-the-best-archivists\/\" target=\"_blank\">flocks of swifts and jackdaws had\u00a0built nests in the attic out of various bits of papers,\u00a0dirt, branches, and trash that over the centuries came to form\u00a0a considerably thick layer of preserved history<\/a> \u2026 Other documents record the town\u2019s civic, religious, and educational affairs; among the lot: bus tickets, delivery contracts, a county court slip, students\u2019 notebooks and diplomas, parish registers, and even church confessional statements.\u201d<\/li>\n<li>The photographer Andrew Moore\u2019s <a href=\"https:\/\/newrepublic.com\/article\/123549\/the-last-homesteads\" target=\"_blank\">new book,\u00a0<em>Dirt Meridian<\/em>, features ten years of his pictures of homestead sites<\/a>, taken along the hundredth\u00a0meridian line that runs through Nebraska, North and South Dakota, Kansas,\u00a0Oklahoma, and Texas, where once pioneers were attracted by the Homestead Act. What\u2019s there now? \u201cAlmost World Famous Dixie\u2019s Caf\u00e9,\u201d crumbling houses, Simon\u2019s Schoolhouse Museum, and a lot of property that looks more or less the same.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Our new anthology, The Unprofessionals, is out now. What does it mean to be unprofessional, you ask? In many cases, it\u2019s as easy as spitting in someone\u2019s food or showing up to work in bondage gear. But if you\u2019re a writer, escaping the rising tide of professionalism proves more difficult. Fortunately, our editor, Lorin Stein, [&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":[15177,20248,33,20247,7393,2968,10610,2530,79,9790,8542,456,5797,20250,747,8006,100,12237,447,7845,20249,19251],"class_list":["post-92079","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-americana","tag-andrew-moore","tag-archives","tag-audrey-munson","tag-birds","tag-censorship","tag-churches","tag-denis-johnson","tag-film","tag-inspiration","tag-karl-ove-knausgaard","tag-lorin-stein","tag-moscow","tag-nests","tag-novels","tag-nudity","tag-photography","tag-readers","tag-russia","tag-short-stories","tag-the-homestead-act","tag-the-unprofessionals"],"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>100 Years Ago, Cinema Saw Its First Nude<\/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\/11\/18\/a-century-of-censorship-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Century of Censorship, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"November 18, 2015 \u2013 Our new anthology, The Unprofessionals, is out now. What does it mean to be unprofessional, you ask? In many cases, it\u2019s as easy as spitting in someone\u2019s\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/18\/a-century-of-censorship-and-other-news\/\" \/>\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=\"2015-11-18T13:59:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-11-18T15:49:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/audrey-munson-con-daniel-chester-french.-autor-desconocido-dp.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"470\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" 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