{"id":99259,"date":"2016-06-14T09:42:43","date_gmt":"2016-06-14T13:42:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99259"},"modified":"2016-06-14T10:44:43","modified_gmt":"2016-06-14T14:44:43","slug":"a-staggering-array-of-folk-art-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/14\/a-staggering-array-of-folk-art-and-other-news\/","title":{"rendered":"A Staggering Array of Folk Art, and Other News"},"content":{"rendered":"<div id=\"attachment_99260\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley.jpg\" rel=\"attachment wp-att-99260\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99260\" class=\"wp-image-99260\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley.jpg\" alt=\"\" width=\"600\" height=\"400\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley.jpg 1600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley-768x512.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley-1024x683.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99260\" class=\"wp-caption-text\">An elephant pull toy from 1830\u201380, on display now at the New-York Historical Society. Image via <em>The New York Review of Books<\/em>.<\/p><\/div>\n<ul>\n<li>When I\u2019m on the job, I use periods in my writing all the time. They\u2019re part of the buttoned-up, G-rated approachability that makes me such an asset to office culture. But when I\u2019m off duty, you better believe the periods are the first thing to go, am I right? As Jeff Guo has noticed, \u201c<a href=\"https:\/\/www.washingtonpost.com\/news\/wonk\/wp\/2016\/06\/13\/stop-using-periods-period-2\/?tid=sm_tw\" target=\"_blank\">The period is no longer how we finish our sentences.\u00a0In texts and online chats,\u00a0it has been replaced by the simple line break<\/a> \u2026 The modern line break is like the medieval\u00a0punctus\u2014an all-purpose piece of punctuation that inserts pauses wherever we\u2019re feeling it. And the period has\u00a0gained expressive powers after it was\u00a0laid off from its job marking the\u00a0ends of sentences. Now it\u2019s an icy flourish we deploy against frenemies and exes. We should celebrate these developments. Writing is becoming richer. This is an exciting time. Period.\u201d<\/li>\n<\/ul>\n<ul>\n<li>And in German-Turkish relations, grammar is playing a pivotal diplomatic role: \u201cWith impressive courage, a hip-hop band called Einshoch6 left their native Munich to keep a longstanding date on June 4 and, as one of them modestly put it, \u2018set Ankara on fire\u2019 with a concert and teach-in. <a href=\"http:\/\/www.economist.com\/blogs\/prospero\/2016\/06\/learning-german-hip-hop\" target=\"_blank\">Young Turkish German-learners took lessons in how to turn tongue-twisting Teutonic sounds into the verbal pyrotechnics of rap<\/a>. Their trademark is combining rap vocals with classical instruments (or electronic versions of those instruments) and strong percussion \u2026 Along with their own exuberant, random ravings they have experimented with rap versions of the poetry of Goethe, and their whole output is an unlikely by-product of the intense classical-music culture of south Germany. But they send out a message that mastering compound verbs and case-endings needn\u2019t be done with a long, studious face.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Hey, kid. Wanna get into the picture business? Don\u2019t go to Tinseltown. It\u2019s for chumps and floozies. Get yourself a one-way ticket to Marrakesh: \u201c<a href=\"http:\/\/life.spectator.co.uk\/2016\/06\/lights-camera-allahu-akbar-welcome-to-hollywood-on-mahgreb\/\" target=\"_blank\">Morocco shares many of the advantages that first drew filmmakers to California: year-round sunshine, diverse landscapes, great old architecture and abundant available extras<\/a>. Just recently Morocco and Britain signed a treaty giving each other reciprocal tax subsidies for film and television production. And since the UK and Morocco are in the same time zone, they keep the same business hours. My fascination with film was kindled in the New York editorial offices of a literary magazine, The\u00a0<em>Paris Review<\/em>. My then boss, George Plimpton, recounted over lunch one day an adventure he had had long before\u2014one of his stunts in participatory journalism\u2014when he shipped off to Morocco to play a Bedouin extra on the set of David Lean\u2019s <em>Lawrence of Arabia<\/em>.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Because your year in the arts isn\u2019t truly complete until you\u2019ve seen an old elephant pull toy in the same building as a roach motel, visit the New-York Historical Society, where a new exhibition features folk art from the collection of Elie Nadelman: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/06\/11\/cosmopolitan-folk-elie-viola-nadelman\/\" target=\"_blank\">The more than two hundred objects on display range from clipper ship figureheads<\/a> (\u2018It was not just a sailor who carved this but an artist,\u2019 Nadelman remarked of a ravishing gilded eagle with detachable wings) to miniature carved animals, amid a trove of carefully selected pottery, exquisitely detailed needle-cases, and an early, ingenious earthenware roach motel\u2014the glazed, funnel-shaped opening of which traps roaches lured inside by molasses. This staggering array of material is complemented by a dozen or so of Nadelman\u2019s wondrous figurative sculptures, fashioned in weathered cherry or mahogany and often given an overlay of seemingly aging paint.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In writing a book about indentured servitude in British Guiana, Gaiutra Bahadur faced a major research dilemma: no firsthand accounts existed by women. \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2016\/jun\/14\/gaiutra-bahadurindentured-female-labourers-coolie-woman\" target=\"_blank\">Since indentured women were, for the most part, illiterate, they didn\u2019t leave behind written traces of themselves<\/a>. Just as there isn\u2019t a single existing narrative from a woman or girl who survived the Middle Passage, the rare first-person accounts of indenture\u2014there are three\u2014are all by men. The stealing of the voices of indentured women, born into the wrong class, race and gender to write themselves into history, was structural. How could I write about women whose very existence the official sources barely acknowledged? To enter their unknown and to some extent unknowable history, I had to turn to alternative, unofficial sources. I looked for clues in visual traces and the oral tradition: folk songs, oral histories, photographs and colonial-era postcards, even a traditional tattoo on the forearms of elderly Indo-Caribbean women.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>When I\u2019m on the job, I use periods in my writing all the time. They\u2019re part of the buttoned-up, G-rated approachability that makes me such an asset to office culture. But when I\u2019m off duty, you better believe the periods are the first thing to go, am I right? As Jeff Guo has noticed, \u201cThe [&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":[22776,22772,22774,13963,7979,22775,247,231,22777,22773,5875,15184,22771,11915,1417],"class_list":["post-99259","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-coolies","tag-einshoch6","tag-elie-nadelman","tag-filmmaking","tag-folk-art","tag-gaiutra-bahadur","tag-germany","tag-grammar","tag-indentured-servitude","tag-marrakesh","tag-morocco","tag-new-york-historical-society","tag-periods","tag-punctuation","tag-turkey"],"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>In a Vast Collection of American Folk Art, Something for Everyone<\/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\/06\/14\/a-staggering-array-of-folk-art-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Staggering Array of Folk Art, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"June 14, 2016 \u2013 When I\u2019m on the job, I use periods in my writing all the time. They\u2019re part of the buttoned-up, G-rated approachability that makes me such an asset to\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/14\/a-staggering-array-of-folk-art-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-06-14T13:42:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-06-14T14:44:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/elephant-pulley.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1067\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" 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