{"id":95796,"date":"2016-03-22T09:29:59","date_gmt":"2016-03-22T13:29:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95796"},"modified":"2016-03-22T10:26:06","modified_gmt":"2016-03-22T14:26:06","slug":"a-huntsman-of-ogres-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/22\/a-huntsman-of-ogres-and-other-news\/","title":{"rendered":"A Huntsman of Ogres, and Other News"},"content":{"rendered":"<div id=\"attachment_95797\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/landscape-1455232813-marcel-broodthaers-cover-mockup.jpg\" rel=\"attachment wp-att-95797\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-95797\" class=\"wp-image-95797\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/landscape-1455232813-marcel-broodthaers-cover-mockup.jpg\" alt=\"\" width=\"600\" height=\"300\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/landscape-1455232813-marcel-broodthaers-cover-mockup.jpg 640w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/landscape-1455232813-marcel-broodthaers-cover-mockup-300x150.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-95797\" class=\"wp-caption-text\">From the cover of a new collection of Broodthaers\u2019s poetry by Siglio Press.<\/p><\/div>\n<ul>\n<li>At a moment when Syria, in the Western imagination, is synonymous with violence and war, an anonymous Syrian film collective called <a href=\"http:\/\/www.abounaddara.com\/\" target=\"_blank\">Abounaddara<\/a> \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/03\/21\/voices-from-different-syria-abounaddara-films\/\" target=\"_blank\">provides a strikingly different picture of Syrians and their country<\/a>,\u201d as our poetry editor, Robyn Creswell, writes: \u201cThe members of Abounaddara, an Arabic phrase meaning \u2018the man with glasses,\u2019 began making films in 2010, but it was Syria\u2019s version of the Arab Spring that gave them an urgent sense of purpose. For the past five years, they have posted a new documentary film every week, resulting in an archive of nearly four hundred shorts that can be watched for free on <a href=\"https:\/\/vimeo.com\/user6924378\" target=\"_blank\">Vimeo<\/a> \u2026 These films, whose subjects include soccer players for the Syrian national team, bereaved parents, former prisoners of <small>ISIS<\/small>, intellectuals, and refugees, are powerful portraits of individual Syrians, yet they can also be hard to read, in part because we\u2019re told so little about the subjects and settings. This withholding of information is clearly by design. The films often begin and end in medias res, leaving the viewer to puzzle out their significance. They require one to think as well as to look.\u201d<\/li>\n<li>The set designer Es Devlin has a CV that includes everyone from Shakespeare to Verdi to Miley Cyrus: \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2016\/03\/28\/es-devlins-stages-for-shakespeare-and-kanye\" target=\"_blank\">Devlin argues that there is something in between pictorial realism and complete abstraction. Though she borrows elements from every period, her approach is thoroughly contemporary<\/a>. She\u2019s not interested in straight realism, or in traditional production design \u2026 She is theatre\u2019s postmodern expert, and has an instinctive sense of how Shakespeare and opera and fashion and pop concerts might draw from the same dark web of psychological information. Each of her designs is an attack on the notion that a set is merely scenery. She is in demand because she can enter the psychic ether of each production and make it glow with significance. She told me, \u2018A stage setting is not a background, it is an environment\u2019\u2014something that directors and actors can respond to. \u2018Sometimes what these people want is a liberator, someone who might encourage them to defy gravity.\u2019\u2009\u201d<\/li>\n<li>A new biography of Wallace Stevens, <em>The Whole Harmonium<\/em>, reminds us of the vast chasm between artist and art: \u201c<a href=\"http:\/\/www.theatlantic.com\/magazine\/archive\/2016\/04\/the-patron-saint-of-inner-lives\/471468\/\" target=\"_blank\">He never left North America. He was casually racist and anti-Semitic. A Hoover Republican, he distrusted labor unions. He drank too much at parties, to overcome his natural shyness, and later had to apologize for his boorishness<\/a>. In the depths of the Depression, he made $20,000 a year, the equivalent of $350,000 today \u2026 \u2018Wallace Stevens is beyond fathoming,\u2019 Marianne Moore wrote, comparing him to a person with \u2018a morbid secret he would rather perish than disclose.\u2019 But the secret would out, and in his poems Stevens revealed it: The bluff American executive had a soul as baroque and fantastical as an aesthete\u2019s, as profound and brooding as a philosopher\u2019s.\u201d<\/li>\n<li>Before he found renown as a painter, sculptor, filmmaker, collector, and God knows what else, Marcel Broodthaers was a poet. And his poems pursued (among other subjects) ogres: \u201cThe world of these poems is far removed from modern life. <em>My Ogre Book <\/em>in particular, <a href=\"http:\/\/hyperallergic.com\/283748\/only-abandoned-the-poetry-of-marcel-broodthaers\/?ref=featured\" target=\"_blank\">a self-described \u2018suite of poetic tales,\u2019 unfolds across a medieval-ish neverland of forests, mad kings, storm-swept landscapes, and those ogres invoked in the title<\/a>. Its fairy-tale idiom is vivid but generalized, the animal and human figures serving as emblems that are never far distant from elemental strife: \u2018Lost in solitude\u2009\/\u2009I have always been prey,\u2019 reflects the speaker of \u2018The Donkey-Drummer\u2019; \u2018The toads devour themselves\u2009\/\u2009at the heart of diamonds,\u2019 runs the full text of one of the brief untitled poems interlarded throughout the book; in \u2018A Drama of Solitude\u2019 a \u2018huntsman of ogres\u2019 turns on his loyal dog and kills him, preferring \u2018to be alone in the Great North.\u2019 Broodthaers\u2019s archaism, which according to his translator extends to his use of anachronistic phrasing in the original French, was also deeply personal, providing him with a means to map his inner geography in ways both distanced and intimate.\u201d<\/li>\n<li>Today in nomenclature and direct democracy: just when you\u2019re coming around to the idea of the Internet as a tool to empower the masses, something like this happens \u2026 and you\u2019re more convinced of its awesome potential than ever before. \u201cA proposal by a British government agency to let the Internet suggest a name for a $287 million polar research ship probably seemed like a good idea at the time. Now, the agency is the latest group to see what happens when web users are asked to unleash their creative energy: <a href=\"http:\/\/www.nytimes.com\/2016\/03\/22\/world\/europe\/boaty-mcboatface-what-you-get-when-you-let-the-internet-decide.html\" target=\"_blank\">R.S. Boaty McBoatface is a clear front-runner<\/a> \u2026 Alison Robinson, a spokeswoman, said in an email that the group was \u2018delighted by the enthusiasm and creativity\u2019 of people vying for names like Boaty McBoatface. The ship is scheduled to set sail in 2019.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>At a moment when Syria, in the Western imagination, is synonymous with violence and war, an anonymous Syrian film collective called Abounaddara \u201cprovides a strikingly different picture of Syrians and their country,\u201d as our poetry editor, Robyn Creswell, writes: \u201cThe members of Abounaddara, an Arabic phrase meaning \u2018the man with glasses,\u2019 began making films in [&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":[21612,21615,20542,21613,79,21614,165,12964,11833,12735,792],"class_list":["post-95796","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-abounaddara","tag-boaty-mcboatface","tag-contests","tag-es-devlin","tag-film","tag-marcel-broodthaers","tag-poetry","tag-set-design","tag-syria","tag-the-internet","tag-wallace-stevens"],"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 Ogres and Shadows of Marcel Broodthaers\u2019s Poetry<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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