{"id":98970,"date":"2016-06-07T09:21:57","date_gmt":"2016-06-07T13:21:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98970"},"modified":"2016-06-07T11:43:02","modified_gmt":"2016-06-07T15:43:02","slug":"at-once-document-and-symbol-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/07\/at-once-document-and-symbol-and-other-news\/","title":{"rendered":"At Once Document and Symbol, and Other News"},"content":{"rendered":"<div id=\"attachment_98972\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/1232_parks-690.jpg\" rel=\"attachment wp-att-98972\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98972\" class=\"wp-image-98972\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/1232_parks-690.jpg\" alt=\"\" width=\"600\" height=\"374\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/1232_parks-690.jpg 690w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/1232_parks-690-300x187.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-98972\" class=\"wp-caption-text\">Gordon Parks, <i>Emerging Man<\/i>, Harlem, New York, 1952, black-and-white photograph. Photo via <i>The New Yorker<\/i><\/p><\/div>\n<ul>\n<li>Our editor Lorin Stein talks to Frederick Seidel about his poems, his persona, and the kind of seedy back-alley porn shops you just can\u2019t find in London anymore: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2016\/jun\/06\/frederick-seidel-interview-widening-income-inequality\" target=\"_blank\">I think it\u2019s too bad, but unsurprising, that this myth of the beautifully outfitted, elegant, elegantly sinister, Baudelaire sort of fellow striding and sliding down the streets of New York has become a way of not talking about the poems.<\/a> Some reviewers over the years have liked that figure, liked summoning him up. He doesn\u2019t exist, and isn\u2019t really in the poems. Baudelaire is a hero of mine. Baudelaire and how he did it is of great interest. But this persona does get in the way, I think \u2026 Personally, I enjoy someone saying to me: I very much enjoyed that poem, I was moved by that poem, that poem really surprised me. I like the simplicity of statements of that sort. I understand they do not a review make, however large their meaning may be, or however much they may contain.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Because even hell must have a sound track, there is music playing at Penn Station, and someone is responsible for managing the playlist. Bizarrely enough, that unenviable task falls to three women in a windowless office in Austin, Texas: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/06\/06\/nyregion\/from-afar-curating-a-sophisticated-soundtrack-for-shabby-penn-station.html\" target=\"_blank\">Amy Frishkey, one of the programmers, understands the otherness of picking the music that people hear between the train-boarding announcements \u2026 The puny-sounding speakers at Penn Station play a stream of classical pieces along with \u2018easy instrumentals\u2019 that sound like dentist-office arrangements, mostly contemporary piano and guitar solos<\/a>\u2014and, one afternoon last month as the evening rush was approaching, a Sinatra hit that seemed to have been arranged for French horn. The result is a Beethoven quartet one minute, something vaguely New Age the next \u2026 \u2018It\u2019s almost as if you\u2019re trying to D.J. the world\u2019s largest wedding reception,\u2019 Danny Turner, Ms. Frishkey\u2019s boss, said. But it is a reception without a bride or groom, and the 650,000 people who pass through Penn Station every day do not dance to the music.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In 1947, a small magazine asked Ralph Ellison if he\u2019d want to do a photo essay on Harlem\u2019s Lafargue Psychiatric Clinic, which had made a name for itself by standing against segregation. Ellison and the photographer Gordon Parks took the assignment, but the magazine soon folded\u2014and so their work is only now coming to light. Vinson Cunningham writes: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/photo-booth\/ralph-ellison-and-gordon-parkss-joint-harlem-vision\" target=\"_blank\">In a conceptual note, outlining what he called the project\u2019s \u2018pictorial problem,\u2019 Ellison wrote that Parks\u2019s prints \u2018must present scenes that are at once both document and symbol; both reality and (for the reader) psychologically disturbing \u201cimage.\u201d&#8201;\u2019<\/a> Parks\u2019s ingenious solution to this \u2018problem\u2019\u2014which, essentially, is a re-articulation of what we mean by photographic art\u2014can be seen in an image of a shadow-shrouded man walking in an alley. Before him sit huge, indiscriminate mounds of rubble. Lines of white laundry hang far above his head, between tenement fire escapes. Light travels from the upper corner of the composition, softly through the drying clothes, then slantingly toward the camera\u2019s eye, making the man little more than a silhouette while\u2014somewhat paradoxically\u2014throwing every detail of a nearby wall into sharp, sculpted relief.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Today is Prince\u2019s birthday\u2014the Minnesota governor has declared it <a href=\"http:\/\/pitchfork.com\/news\/65950-minnesota-governor-declares-june-7-prince-day\/\" target=\"_blank\">Prince Day<\/a>, and I\u2019m wearing my <em>Purple Rain<\/em> T-shirt. \u201c<a href=\"https:\/\/mediadiversified.org\/category\/the-morning-papers\/\" target=\"_blank\">The Morning Papers<\/a>,\u201d a collection at Media Diversified, invites writers of color and Prince devotees to reflect on his legacy. Tanuja Desai Hidier, who was many moons ago an intern at the <em>Review<\/em>, remembers him in the poem \u201c<a href=\"https:\/\/mediadiversified.org\/2016\/05\/23\/zindagi-bhar-nahin-bhoolegi-woh-purple-barsaat-ki-raat\/\" target=\"_blank\">Zindagi bhar nahin bhoolegi woh Purple barsaat ki\u00a0raat<\/a>\u201d: \u201cPulsing purple Om.\u2009\/\u2009Love symbol. Id.\u2009\/\u2009Strumming us home:\u2009\/\u2009A compass. The Kid.\u201d And in \u201c<a href=\"https:\/\/mediadiversified.org\/2016\/05\/21\/camille-aint-dead-honey\/\" target=\"_blank\">Camille Ain\u2019t Dead, Honey<\/a>,\u201d Gemma Weekes mulls on his death: \u201cWe remembered all his talk about the Spooky Electric. Some of us thought The Kid was irresponsible and that the Spooky Electric was a train he\u2019d jumped on in the middle of the night, taking him off to some traitorous adventure elsewhere. He\u2019d not read section 3, passage 33 of the Town Rules that stipulated he choose a successor before quitting city limits \u2026 A growing percentage theorized that The Spooky Electric was a It wanted his light. It wanted to stop his light from spreading, so The Kid was kidnapped, or scrubbed free of glitter and buried under a thousand layers of darkness.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In which Diana Hamilton embarks on a journey to define \u201cfictional poetry\u201d: \u201c<a href=\"http:\/\/www.poetryfoundation.org\/harriet\/2016\/06\/on-fictional-poetry\/\" target=\"_blank\">I realized I had never been writing about \u2018postconceptual poetry\u2019 at all, but about something I started to call \u2018Fictional Poetry\u2019\u2014i.e., poetry that uses the style, plot, characterization, or forms of fiction<\/a> \u2026 Key to this sense of the \u2018fictional\u2019 is a quality of <em>aboutness<\/em> that prevents overemphasis on form\u2014and on the repetition of the forms that often characterizes the appearance of schools\u2014and especially resists the belief that the shape a poem takes, rather than its \u2018topic,\u2019 is always the source of its politics\u2009\/\u2009interestingness\u2009\/\u2009literariness\u2009\/\u2009purpose. Instead, the books I want to write about don\u2019t mind being about things \u2026 A lot of contemporary poetry does not deal very directly with its \u2018content\u2019; or rather, it seems contentless. Most things that pass for poems today are list poems without knowing it: by trying to focus on the lyrical image\u2019s mediation of reference, they become mere collections of images that pride themselves on their irrelevance.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Our editor Lorin Stein talks to Frederick Seidel about his poems, his persona, and the kind of seedy back-alley porn shops you just can\u2019t find in London anymore: \u201cI think it\u2019s too bad, but unsurprising, that this myth of the beautifully outfitted, elegant, elegantly sinister, Baudelaire sort of fellow striding and sliding down the streets [&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":[22663,712,22662,22660,7711,46,22659,18822,100,165,1329,1331,3839,22661],"class_list":["post-98970","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-diana-hamilton","tag-frederick-seidel","tag-gemma-weekes","tag-gordon-parks","tag-harlem","tag-music","tag-muzak","tag-penn-station","tag-photography","tag-poetry","tag-prince","tag-purple-rain","tag-ralph-ellison","tag-tanuja-desai-hidier"],"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>Ralph Ellison and Gordon Parks\u2019s Forgotten Photo Essay<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" 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