{"id":98355,"date":"2016-05-19T09:23:42","date_gmt":"2016-05-19T13:23:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98355"},"modified":"2016-05-19T10:33:42","modified_gmt":"2016-05-19T14:33:42","slug":"the-vegetated-sound-buffer-of-your-dreams-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/19\/the-vegetated-sound-buffer-of-your-dreams-and-other-news\/","title":{"rendered":"The Vegetated Sound Buffer of Your Dreams, and Other News"},"content":{"rendered":"<div id=\"attachment_98356\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original.jpg\" rel=\"attachment wp-att-98356\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98356\" class=\"wp-image-98356\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original.jpg\" alt=\"\" width=\"600\" height=\"336\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original.jpg 1065w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original-300x168.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original-768x430.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/160518_eye_drormontrealdome5.jpg.crop_.original-original-1024x573.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-98356\" class=\"wp-caption-text\">A rendering from Studio Dror. Photo via <em>Slate<\/em>.<\/p><\/div>\n<ul>\n<li><em>Three Little Ghosts<\/em>, from 1922, was one of Hitchcock\u2019s earliest films\u2014but it survives only in a Soviet edition, with Russian intertitles. It fell to Anna Aslanyan to translate those titles back into English, whereupon she noticed that some editorial liberties had been taken: \u201cThe Russian intertitles have little in common with the lost originals. \u2018<a href=\"http:\/\/www.lrb.co.uk\/blog\/2016\/05\/18\/anna-aslanyan\/the-intertitle-vanishes\/\" target=\"_blank\">The film treats of the consequences of the World War in a positively dangerous and unacceptable manner, promotes friendship between socially antagonistic classes, and should therefore be banned<\/a>,\u2019 the Soviet censor concluded in 1925. But it wasn\u2019t banned; it was re-edited instead \u2026 He found the film too complacent: \u2018The World War is a negligible episode in the eternal and indestructible bourgeois prosperity of the English.\u2019 The display of solidarity between class enemies made the censor predictably angry \u2026 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Vinson Cunningham, reading John D\u2019Agata\u2019s new anthology, asks: What makes an essay American? \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/what-makes-an-essay-american\" target=\"_blank\">The essay, in its American incarnation, is a direct outgrowth of the sermon: argumentative, insistent, not infrequently irritating. Americans, in my observation\u2014and despite our fetish for the beauties of individuality and personal freedom\u2014are always, however smilingly, trying to convince somebody, somewhere, of something, and our essayistic tradition bears this out<\/a> \u2026 D\u2019Agata speaks of his desire to \u2018divorce the essay from being read exclusively as a form that\u2019s tied to its subject matter, or that is propelled by its subject matter.\u2019 But what, really, can this mean? Writing is communication, and form is only meaningful\u2014only artful\u2014insofar as it aids and inflects the travel of a thought from one mind to the next. What is literature without the propulsion of a subject: fallen king, Grecian urn, eaten plums, or national travesty? What D\u2019Agata describes, and what <em>The Making of the American Essay<\/em> presents\u2014form unbothered by the roilings of the world, the essay untethered from its fiery American roots\u2014is a beautiful house, unfurnished forever.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Remember that scene in <em>The Squid and the Whale<\/em> where the pretentious Jesse Eisenberg character says that a novel is \u201cvery Kafkaesque,\u201d and his classmate says, \u201cThat\u2019s because it was written by Franz Kafka\u201d? In real life we have the opposite problem: the word <em>Kafkaesque<\/em> risks total meaninglessness. \u201cThe dictionary defines the adjective, incidentally, as \u2018of, relating to, or suggestive of\u00a0Franz Kafka\u00a0or his writings; especially: having a nightmarishly complex, bizarre, or illogical quality\u2019 \u2026 But <em>Merriam-Webster<\/em> also admits that the word, which saw its first recorded use in English in 1946, \u2018<a href=\"http:\/\/www.theguardian.com\/books\/booksblog\/2016\/may\/18\/kafkaesque-a-word-so-overused-it-has-lost-all-meaning\" target=\"_blank\">is so overused that it\u2019s begun to lose its meaning<\/a>,\u2019 a word that a columnist for Toronto\u2019s <em>Globe and Mail<\/em> argued is \u2018tossed around with cavalier imprecision, applied to everything from an annoying encounter with a petty bureaucrat to the genocidal horrors of the Third Reich.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Today in geodesic domes: try to tell me we couldn\u2019t use a few more of them. The designer Dror Benshetrit has been eyeing Buckminster Fuller\u2019s dome from the \u201968 world\u2019s fair in Montreal, and he \u201c<a href=\"http:\/\/www.slate.com\/blogs\/the_eye\/2016\/05\/18\/studio_dror_wants_to_build_a_companion_to_r_buckminster_fuller_s_expo_67.html\" target=\"_blank\">wants to pay homage to the legacy of the structure and help reinvigorate year-round usage of the site with a proposed project\u00a0that is a riff on the original<\/a>. After touring the site with the Buckminster Fuller Institute, the designer said in a project description that he came up with the idea to build a second larger aluminum dome planted with a \u2018vegetated sound buffer\u2019 that would serve as a twenty-first-century event space for concerts, festivals, and other activities.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Every year brings with it another armload of Bront\u00eb-related biographies and ephemera: plays, films, novelizations, tea towels. Why? \u201c<a href=\"http:\/\/www.theatlantic.com\/magazine\/archive\/2016\/06\/the-brontes-secret\/480726\/\" target=\"_blank\">I see no reason not to consider the Bront\u00eb cult a religion. What are People of the Book, after all, if not irrepressible embroiderers of fetishized texts?<\/a>\u201d Judith Shulevitz asks. \u201cThe Jews have a word for the feverish imaginings that run like bright threads through their Torah commentaries:\u00a0<em>midrash<\/em>, the spinning of gloriously weird backstories or fairy tales prompted by gaps or contradictions in the narratives \u2026 Some Bront\u00eb fans\u2014reader, I\u2019m one of them\u2014would happily work through stacks of Bront\u00eb midrash in search of answers to the\u00a0<em>mysterium tremendum<\/em>, the awesome mystery, of the Bront\u00ebs\u2019 improbable sainthood. How did a poor and socially awkward ex-governess named Charlotte and her even more awkward sister Emily, who kept house for their father in a parsonage on a Yorkshire moor far from the literary circles of London, come to write novels and poems that outshone nearly every other nineteenth-century British novel and poem by dint of being more alive?\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Three Little Ghosts, from 1922, was one of Hitchcock\u2019s earliest films\u2014but it survives only in a Soviet edition, with Russian intertitles. It fell to Anna Aslanyan to translate those titles back into English, whereupon she noticed that some editorial liberties had been taken: \u201cThe Russian intertitles have little in common with the lost originals. \u2018The [&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":[2643,142,9319,19072,22438,364,8705,5410,22437,22433,6657,22436,22439,22435,22434,22432],"class_list":["post-98355","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-alfred-hitchcock","tag-america","tag-bronte-sisters","tag-buckminster-fuller","tag-dror-benshetrit","tag-essays","tag-films","tag-franz-kafka","tag-geodesic-domes","tag-intertitles","tag-john-dagata","tag-kafkaesque","tag-midrash","tag-sermons","tag-soviet-censors","tag-three-little-ghosts"],"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>What the World Needs Now Is More Geodesic Domes<\/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\/2016\/05\/19\/the-vegetated-sound-buffer-of-your-dreams-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Vegetated Sound Buffer of Your Dreams, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 19, 2016 \u2013 Three Little Ghosts, from 1922, was one of Hitchcock\u2019s earliest films\u2014but it survives only in a Soviet edition, with Russian intertitles. 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