{"id":99167,"date":"2016-06-10T13:11:41","date_gmt":"2016-06-10T17:11:41","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99167"},"modified":"2016-06-10T13:30:58","modified_gmt":"2016-06-10T17:30:58","slug":"what-our-contributors-are-reading-this-summer","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/10\/what-our-contributors-are-reading-this-summer\/","title":{"rendered":"What Our Contributors Are Reading This Summer"},"content":{"rendered":"

In place of our usual staff picks this week, we\u2019ve asked five contributors from\u00a0<\/em>our new Summer issue<\/a>\u00a0<\/em>to write about what they\u2019re reading.\u00a0<\/em><\/p>\n

\"\"<\/p>\n

It\u2019s coming. The Mister Softee Jingle will clang down on you like a recurring nightmare, then distort itself around the bend like a lost memory of something crucial you\u2019ll die trying to reclaim. This is summer\u2014and I can think of no better way to get yourself in the mood than by reading\u00a0Ritual and Bit<\/a><\/em>, Robert Ostrom\u2019s latest collection of poems, which is steeped in nostalgia and foreboding. The cinematic, otherworldly play of images\u2014\u201cbit[s] of dream you almost had hold of\u201d\u2014 will leave you achey, haunted, indiscriminately homesick. It\u2019s like sleepaway camp all over again. Or, if we\u2019re doing similes, then Ostrom\u2019s poetry is like an exfoliating scrub for souls. Your tender self is stripped of its winterized, anesthetized hull, and everything is suddenly more dicey and exquisite. Or (final simile), in Ostrom\u2019s words, \u201cit will be like watching a church service through a keyhole\u201d\u2014stolen, mystifying glimpses of a choreographed sequence that feels timeless and charged. Here is the religion you (I) wanted, all stained glass and incense smoke, spooky-sublime chanting and devil-may-care suspension of disbelief; no\u00a0Sunday\u00a0sermons or starched shirts: \u201cCattywompus, pray for us.\u201d \u2014Danielle Blau\u00a0<\/strong>(\u201cI Am the Perennial Head of This One-person Subcutaneous Wrecking Crew\u201d)<\/p>\n

I\u2019m reading Elif Batuman\u2019s The Possessed<\/a> <\/em>and Liana Finck\u2019s A Bintel Brief<\/a><\/em>. Though both books do many other things, each lovingly renders a past love. For Batuman it is her ex-fianc\u00e9, Eric, \u201cwith his gentle blinking Chinese eyes, as philosophical and good-humored as Snoopy,\u201d highly alert and strategic but always sounding a bit dreamy, like a navy reserve intelligence officer with a delusive fever, which he sometimes is. For Finck it is Abraham Cahan, editor and advice columnist for the\u00a0Jewish Daily Forward.<\/em>\u00a0Cahan\u2019s disembodied head, in Finck\u2019s drawings, is either a peach or a heart. He is never quite real enough to be mistaken for a father or a boyfriend, always a bit incorporeal or out of human scale or dressed a century out of style. Eric trails Batuman to Samarkand, and Cahan trails Finck around her aimless roomy freelance days. I like feeling the lasting affection for such ghosts.\u00a0\u2014Rafil Kroll-Zaidi\u00a0<\/strong>(\u201cLifeguards<\/a>\u201d)<\/p>\n

\"\"<\/a><\/p>\n

When I read, I\u2019m often looking for works that allow for a meshing of shapes, where drawing feels like writing, where mapping emerges out of dance, where something becomes<\/em> because it has been run through something unfamiliar to it. Many books from many different disciplines do this. One poem I could spend a month with is \u201cAndrea Geyer\u201d from Fred Moten\u2019s latest collection The Service Porch<\/a><\/em>. It begins: \u201cMy friend, I\u2019m working on it now. About scale and all over painting \/ and blurred calligraphy, our maps brushing up against our poems.\u201d It talks about correspondence as a \u201ctransitional lotion of breathing,\u201d where we breathe \u201cour comrades\u201d as \u201ca kind of braiding.\u201d This is that kind of poem made of layers, where you open the word \u201cbraid\u201d and find \u201ca tapestry for the touched wall,\u201d and all the objects around you begin to wobble with some distant approaching knowing. \u2014Renee Gladman\u00a0<\/strong>(\u201cFive Things<\/a>\u201d)<\/p>\n

I live for those moments when a narrative seems to look itself in the mirror. \u201cLife down here was so clear and nameless, resounding with an inhuman song. She yearned to keep some piece of it, an artifact of this dream.\u201d This is the experience of reading Brian Booker\u2019s debut story collection, Are You Here for What I\u2019m Here for?<\/a>\u2014<\/em>and\u00a0it\u2019s an excerpt from the title story, in which a woman staying at a healing resort goes snorkeling. The collection is concerned with neuroses and memory. Booker\u2019s writing is raw, haunting, and otherworldly in the pursuit of his characters\u2019 emotional lives. In \u201cA Drowning Accident,\u201d a young boy lives in a town that was once flooded by the lake on the mountain\u2014\u201cGrowing up, I sometimes felt I was living among watery ghosts. I sought reassurance from my mother that the flood was in the past, long before I was born, and could never happen again.\u201d I loved the diversity of this collection\u2014there is a hypochondriac, a paranoid academic, a teenager coming into his sexuality, and a boy who finds a mermaid on the beach.\u00a0I\u2019m here for Booker\u2019s beautiful, brilliant\u00a0debut. \u2014Alexia Arthurs\u00a0<\/strong>(\u201cBad Behavior<\/a>\u201d)<\/p>\n

\"\"<\/a><\/p>\n

\u201cI had a dream,\u201d repeats Young-hye, the main character of Han Kang\u2019s visceral, indelible debut novel, The Vegetarian<\/a><\/em>, which just won the 2016 Man Booker International Prize for Fiction. In the English translation of the sentence, it\u2019s impossible not to hear echoes of Martin Luther King Jr. And like King\u2019s dream, Young-hye\u2019s dream leads her, eventually, to a mountainside. But while King\u2019s vision ultimately arcs upward toward sunlight and justice, Young-hye\u2019s nightmare, impelled by a pitiless dream-logic, pulls her\u2014and those around her\u2014relentlessly downward, earthward, so that near the end of the novel, we see her in the hallway of a mental hospital on that mountainside, holding a handstand, her face suffused with pooled blood, her arms seeking \u201cto delve down into the earth,\u201d her legs spread because she \u201cwanted flowers to bloom from [her] crotch.\u201d<\/p>\n

Young-hye\u2019s dreams start off strange and terrifying\u2014a house of bloody, clinging meat\u2014and become even more disturbing\u2014a murdered dog\u2019s mirrorlike eyes, corpselike faces emerging from her stomach. We glimpse these dreams only in italicized snippets, in snatches of dialogue, but they start to shape the plot of the book as inexorably as prophecies, exerting a gravitational pull on the three narrators of the story: Young-hye\u2019s callous husband, her sexually obsessed brother-in-law, her self-sacrificing sister. Our knowledge of the personal history that gave rise to these dreams\u2014an abusive, sadistic father, a culture that reifies female self-abnegation to the point of nonexistence\u2014is even more refracted, fragmentary. But it is a testament to the power of this novel that, by its end, Young-hye\u2019s pathological worldview is more compelling, more plausible than its alternatives. I\u2019m reminded of the end of Margaret Atwood\u2019s poem \u201cMen with the Heads of Eagles\u201d:<\/p>\n

\n

I search instead for the others,
\n the ones left over,
\nthe ones who have escaped from these
\n mythologies with barely their lives;
\n they have real faces and hands, they think
\n of themselves as
\n wrong somehow, they would rather be trees.
\nBy the end of this book, we agree with them.<\/p>\n<\/blockquote>\n

\u2014Monica Youn\u00a0<\/strong>(Four Poems<\/a><\/em>)<\/p>\n","protected":false},"excerpt":{"rendered":"

In place of our usual staff picks this week, we\u2019ve asked five contributors from\u00a0our new Summer issue\u00a0to write about what they\u2019re reading.\u00a0 It\u2019s coming. The Mister Softee Jingle will clang down on you like a recurring nightmare, then distort itself around the bend like a lost memory of something crucial you\u2019ll die trying to reclaim. […]<\/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":[13434,22576,22739,22738,22742,22577,431,71,22737,22740,22571,13436,12293,165,22575,53,9619,8695,22735,22734,883,22572,449,22736,22741],"class_list":["post-99167","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-a-bintel-brief","tag-alexia-arthurs","tag-are-you-here-for-what-im-here-for","tag-brian-booker","tag-contributors","tag-danielle-blau","tag-elif-batuman","tag-fiction","tag-fred-moten","tag-han-kang","tag-issue-217","tag-liana-finck","tag-monica-youn","tag-poetry","tag-rafil-kroll-zaidi","tag-reading","tag-recommended-reading","tag-renee-gladman","tag-ritual-and-bit","tag-robert-ostrom","tag-staff-picks","tag-summer-2016","tag-the-possessed","tag-the-service-porch","tag-the-vegetarian"],"acf":[],"yoast_head":"\nWhat 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