{"id":93735,"date":"2016-01-22T18:27:07","date_gmt":"2016-01-22T23:27:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=93735"},"modified":"2016-01-22T18:50:15","modified_gmt":"2016-01-22T23:50:15","slug":"staff-picks-dissent-deprogrammers-dogs","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/01\/22\/staff-picks-dissent-deprogrammers-dogs\/","title":{"rendered":"Staff Picks: Dissent, Deprogrammers, Dogs"},"content":{"rendered":"
\"\"<\/a>

Raymond Pettibon.<\/p><\/div>\n

\u201cThis isn\u2019t so much bad literature as boring literature. After all, what\u2019s more exhausting than reading, time and again, experimentation you\u2019ve come to expect?\u201d This is Maggie Doherty in the latest issue of Dissent<\/em><\/a> opining the commercialization and political equivocation of much contemporary literature. Her complaint stems from the gutting, over the past four decades, of federal arts agencies, namely the NEA and the NEH; as a result, artists and writers now must rely for their livelihoods on stultifying, increasingly corporatized universities and must heed the demand for marketable works of art. That the U.S. government doesn\u2019t prioritize its citizens\u2019 cultural life is hardly new information. But Doherty makes the significant argument that the contraction of patronage limits both the possibility for avant-garde work and the diversity\u2014\u201cracially, politically, and aesthetically\u201d\u2014of the artistic world.\u00a0\u2014Nicole Rudick<\/strong><\/p>\n

Raymond Pettibon is a longtime favorite here at the\u00a0Review<\/em>; his studio occupied the loft directly beside us at our old office on White Street, and a portfolio of his dog-themed art, \u201cReal Dogs in Space<\/a>,\u201d was featured in (and on the cover of) issue 209. After attending the opening of his\u00a0recent show<\/a>\u00a0at David Zwirner Gallery, I was intrigued, and very much surprised, to find a video of Pettibon\u00a0discussing and reacting to the work of J. M. W. Turner<\/a>, my all-time-favorite visual artist. In the video, part of the Met\u2019s Artist Project series, Pettibon\u00a0is measured, articulate, and engaging\u2014which sits in stark contrast to his\u00a0famously absurd<\/a>\u00a0social-media persona. \u2014Stephen Andrew Hiltner\u00a0<\/strong><\/p>\n

The nasty weather this weekend will force us to peer into the deepest recesses of Netflix. Seek out Jane Campion\u2019s sui generis Holy Smoke<\/a> <\/em>(1999), filed under \u201cQuirky Australian Dramas with a Strong Female Lead.\u201d It stars Harvey Keitel as an abrasive, chauvinist cult deprogrammer; Kate Winslet, fresh from a third-eye-opening jaunt in India, is his headstrong charge. Most of the movie finds them isolated in the outback, locked in a moody and often kooky psychosexual endurance contest. Holy Smoke <\/em>was panned when it came out, but the years have been kind to it, especially to its feminist-misandrist streak. Anyone who enjoyed Campion\u2019s more popular Top of the Lake <\/em>will take to it right away, even if it indulges in that weird nineties obsession with Hinduism. (Remember when Gwen Stefani wore a bindi?) \u2014Dan Piepenbring<\/strong><\/p>\n

\"\"<\/a>

Kate Winslet in Holy Smoke<\/i>.<\/p><\/div>\n

I\u2019ve only just read John Keats\u2019s \u201cSleep and Poetry<\/a>\u201d\u2014it\u2019s not new, nor will it be unheard of to even the most casual reader of Romantic poetry, but it\u2019s the most moving poem I\u2019ve encountered in a while. Its lines affirm a kind of measured optimism more effective than, say, the un<\/em>measured optimism of \u201cSee It Through\u201d by Edgar Guest. But the lines tending away from optimism, rebuffing the \u201cIll-fated, impious race!\u201d of the poet\u2019s detractors\u2014pedants, pretenders, and cynics\u2014struck me most. Keats\u2019s repudiation of the talented, intelligent cynic rings awfully true, all the more so for his axiom that \u201cthe great end\/Of poesy,\u201d is to \u201cbe a friend\/To sooth the cares, and lift the thoughts of man.\u201d We\u2019ve all asked ourselves what real importance there is in a few lines of verse, a few coats of paint across a canvas. Well, just read the affirmative words of Keats: \u201csure a poet is a sage; A humanist, physician to all men.\u201d \u2014Robert Magella<\/strong><\/p>\n

This week I worked through Jesse Eisenberg\u2019s debut collection\u00a0Bream Gives Me Hiccups & Other Stories<\/a>.\u00a0<\/em>(With emphasis on \u201cother stories\u201d: there are forty-four in the book.) At their worst, Eisenberg\u2019s characters are types \u2014e.g., the vegan mother who, at Thanksgiving dinner, announces she\u2019s thankful for her \u201cenlightened consciousness\u201d before she offers the rest of the table tofu\u2014but at their best, his stories are quite tender. Perhaps the most memorable line in the collection is also its gentlest. In \u201cRestaurant Reviews by a Privileged Nine Year Old,\u201d the protagonist constantly wonders why his recently divorced mother drags him along to all her highbrow and extravagant dinners, worrying it might be because his estranged father only agreed to fund expenses that included their son. In the final moments of the story, though, he understands: \u201cMom took me around because she needed me,\u201d the boy says. \u201cBecause going through a hard life with someone else is better than going through an easy life alone.\u201d \u2014Daniel Johnson<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThis isn\u2019t so much bad literature as boring literature. After all, what\u2019s more exhausting than reading, time and again, experimentation you\u2019ve come to expect?\u201d This is Maggie Doherty in the latest issue of Dissent opining the commercialization and political equivocation of much contemporary literature. Her complaint stems from the gutting, over the past four decades, […]<\/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":[7985,20874,20876,20877,11258,13755,6749,3788,20875,11128,9619,883],"class_list":["post-93735","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-david-zwirner","tag-dissent","tag-harvey-keitel","tag-holy-smoke","tag-jane-campion","tag-jesse-eisenberg","tag-john-keats","tag-kate-winslet","tag-maggie-doherty","tag-raymond-pettibon","tag-recommended-reading","tag-staff-picks"],"acf":[],"yoast_head":"\nStaff Picks: Raymond Pettibon, Jane Campion, Maggie Doherty<\/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\/2016\/01\/22\/staff-picks-dissent-deprogrammers-dogs\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Dissent, Deprogrammers, Dogs by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"January 22, 2016 \u2013 \u201cThis isn\u2019t so much bad literature as boring literature. 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