{"id":94704,"date":"2016-02-19T10:59:52","date_gmt":"2016-02-19T15:59:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=94704"},"modified":"2016-02-22T13:09:33","modified_gmt":"2016-02-22T18:09:33","slug":"staff-picks-chicago-dublin-the-house-of-fiction","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/19\/staff-picks-chicago-dublin-the-house-of-fiction\/","title":{"rendered":"Staff Picks: Chicago, Dublin, The House of Fiction"},"content":{"rendered":"

\"Murnane-MillionWindows-frontcover#1_HOUSE#1-web_400<\/p>\n

I watched Spike Lee\u2019s new film,\u00a0Chi-Raq<\/a><\/em>, last weekend, and although I agree with some reviewers that it\u2019s an occasionally messy affair\u2014one that pushes beyond the bounds of its source material, Aristophanes\u2019s rowdy comedy\u00a0Lysistrata<\/em>\u2014the film aims both to be capacious in subject and to speak to a wide audience, so how could it be anything but fulsome and exuberant? Lee and his cowriter Kevin Willmott set the stage in gangland Chicago and address gun and police violence, institutional racism, poverty, masculinity, and sexuality. If this sounds like a lot, that\u2019s because it is. Lee wants to show how these elements are inextricably linked, and he spares no one in indicting America\u2019s self-perpetuating culture of violence. There is a lot to like about this film, not least its hopeful ending (fantastic but not naive) and its fully realized depiction of women as intellectual and sexual beings. (Really, the female characters\u00a0are\u00a0incredible<\/em>. Pay attention, Hollywood.) \u00a0\u2014Nicole Rudick\u00a0<\/strong><\/p>\n

I\u2019ve spent the last weeks under the spell of the Australian novelist Gerald Murnane. Readers of the\u00a0Review<\/em> will get to sample Murnane\u2019s newest work in our Summer issue; in the meantime, I recommend his 2014 novel\/treatise\/manifesto A Million Windows<\/a><\/em>, which comes to the U.S. this spring. Inspired by Henry James\u2019s remark that \u201cthe house of fiction has not one window, but a million,\u201d Murnane leads us through a rambling country estate where various narrators struggle to uncover the \u201ctrue fiction\u201d that underpins their existence. They also debate the legacy of previous tenants\u2014<\/strong>James, Hardy, Proust, Woolf, Carver, et al\u2014and spin fragmentary stories within stories, all the while elaborating a subtle and passionate argument about what fiction is and ought to be. It sounds like a lot. It\u00a0is<\/i>\u00a0a lot. Murnane is a writer of such precision and irony that one hesitates to describe A Million Windows<\/em> except to say that it will fascinate (and amuse and provoke) anyone who has driven past that house \u201cof two, or perhaps three, storeys,\u201d and wondered what exactly was going on inside.\u00a0\u2014Lorin Stein
<\/strong><\/p>\n

Robin Wasserman\u2019s first adult novel,\u00a0Girls on Fire<\/a><\/em>, is one of the finest I\u2019ve read in a while and has quickly become a vital resource\u00a0in my growing appreciation of the nineties. The book (due out in May) is something between an elegy for that decade and a celebration of it\u2014oversize flannels, satanic insurgencies in suburban high schools, and Kurt Cobain worship provide the backbeat to the story\u2019s march. And yet, Girls on Fire<\/em>\u00a0avoids nostalgia overload; rather than treating the era\u2019s icons with reverence, the novel casts a cold light on their power. Hannah\u2019s, Lacey\u2019s and Nikki\u2019s obsessions with Nirvana and\u00a0The Real World<\/em>\u00a0drive them to violence and rebellion\u2014the high school girls slaughter cows and eat shrooms during church services\u2014but the sincerely powerful moments, as when two characters stand at the shore of a lake, hold hands, and scream into a thunderstorm, balance the novel and lend it real emotional weight. Wasserman reminds us that sometimes even the most toxic relationships possess a raw tenderness that, like Cobain\u2019s voice, leaves us spellbound. \u00a0\u2014Daniel Johnson<\/strong><\/p>\n

One of the things I\u2019ve realized I miss about going into an office is the built-in subway book time\u2014well, when you can get a seat! On my commutes this week, I\u2019ve been reading Belinda McKeon\u2019s second novel, Tender<\/a>.\u00a0<\/em>It\u2019s a good book. (I don\u2019t think people just come out and say that enough.) It\u2019s a also a fun, absorbing read: the story of two friends coming into their adult selves and sexualities in a Dublin that isn\u2019t so far in the past but\u2014in terms of mores\u2014was a different world. It\u2019s sad, sweet, funny, and, yes, tender\u2014utterly worthwhile without being overly worthy. \u2014Sadie O. Stein<\/strong><\/p>\n

If you\u2019re thinking of going to the movies this weekend, try to catch\u00a0Anomalisa<\/a><\/em>, Duke Johnson and Charlie Kaufman\u2019s bizarre stop-motion film. Beautifully sincere and comfortably awkward, Anomalisa<\/em> is not your typical animated picture: don\u2019t bring your kids\u2014it\u2019s rated R, with good reason. You\u2019ve probably never had the urge to watch puppet cunnilingus, but then, I\u2019m sure you\u2019ve never had the opportunity before now. David Thewlis voices Michael Stone, an inspirational speaker and groundbreaking new voice in the field of … customer service. Michael is in the midst of something of a crisis; everyone in his life has, literally, blurred together: besides Michael, every character is voiced by a droning Tom Noonan. Michael\u2019s attempts to recapture life\u2019s spark lead him to Lisa (voiced by Jennifer Jason Leigh), the eponymous anomaly in a world of Tom Noonans. The film is far from uplifting. And yet for all its pessimism, it manages a touching and undeniably human intimacy. \u00a0\u2014Ty Anania\u00a0<\/strong><\/p>\n

If Evelyn Waugh and Tom Wolfe had a baby, one who wrote sensibly about the subset of people that Dave Eggers has written about whimsically, that baby would probably be Tony Tulathimutte and the book would be Private Citizens<\/a><\/em>,\u00a0<\/em>a satirical comedy \u00a0of manners peopled by overeducated San Francisco millennials circa 2008. Private Citizens<\/em> is a truthful melodrama of exhausting identity politics, idealism, and anxious self-awareness: the generational malaise and the cast of bleeding-heart masters-carrying idealists, burdened by their privilege and self-loathing, will feel familiar to many readers in 2016. \u201cI set out to write with as much love, empathy, hope, and imagination as hate, spite, pessimism, and self-indulgence,\u201d Tulathimutte wrote in an essay<\/a> for The Atlantic<\/em>, and it shows in this hilarious portrait of youthful self-centeredness. I\u2019m frequently turned off by young writers who try to capture contemporary speech patterns because they so often miss the mark, but Tulathimutte\u2019s old-school social realism gives his characters an enduring, three-dimensional verisimilitude that makes me inclined to forgive them nearly everything, including how obnoxious they are. \u2014Jeffery Gleaves<\/strong><\/p>\n

At a time when politics seems hardly more than a circus of hotheadedness and buffoonery, I\u2019m grateful to Christian Lorentzen for his essay \u201cDriving Through a Postcard<\/a>\u201d in the\u00a0London Review of Books<\/em>. It comprises\u00a0vignettes from the New Hampshire campaign trail\u2014there\u2019s\u00a0Portsmouth, for Trump; Exeter, for Sanders;\u00a0Concord, for Bush;\u00a0Peterborough, for Cruz;\u00a0and so on. And it\u2019s good. Lorenzten serves it to us straight: he shows the campaign in all its filth and glory\u2014touching on everything from abortion to immigration to Hillary\u2019s \u201cugly pantsuits\u201d\u2014and all the characters that people it. His magic, though, is in the smallest of details, nuggets of wit or irony or even pure sentiment: the little boy who says that if he were old enough, he\u2019d vote for Sanders; the waitress who cards Rubio for not looking of age; Lorentzen\u2019s own confession to being a flip-phone user\u2014and the antidemocratic implications of Fiorina\u2019s plan to hold national referenda via smartphone. Lorentzen not only takes us into the rallies with him but into the cars and into the bars as well. If only all campaign coverage was this smart and sharp-tongued.\u00a0\u2014Caitlin\u00a0Youngquist<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

I watched Spike Lee\u2019s new film,\u00a0Chi-Raq, last weekend, and although I agree with some reviewers that it\u2019s an occasionally messy affair\u2014one that pushes beyond the bounds of its source material, Aristophanes\u2019s rowdy comedy\u00a0Lysistrata\u2014the film aims both to be capacious in subject and to speak to a wide audience, so how could it be anything but […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[21213,8909,11360,12059,21219,21217],"class_list":["post-94704","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-anomalisa","tag-belinda-mckeon","tag-charlie-kaufman","tag-gerald-murnane","tag-robin-wasserman","tag-spike-lee"],"acf":[],"yoast_head":"\nStaff Picks: Spike Lee, Gerald Murnane, Robin Wasserman<\/title>\n<meta name=\"description\" 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