For her collection Lost Wax , Jericho Parms borrows her title from a casting method used by sculptors. As such, these eighteen essays, centered on art and memory, offer an investigation into form and content and the language of innocence, experience, and loss.Read more...
For her collection Lost Wax, Jericho Parms borrows her title from a casting method used by sculptors. As such, these eighteen essays, centered on art and memory, offer an investigation into form and content and the language of innocence, experience, and loss. Four sections (each borrowing names from the sculptures of Degas, Bernini, and Rodin) frame a series of meditations that consider the boundaries of the discernible world and the extremes of the body and the self. Here Parms draws heavily on memories of a Bronx upbringing in the 1980s and1990s; explorations in Spain, Portugal, Ireland, and the American West; the struggle to comprehend race, love, family, madness, and nostalgia; and the unending influence of art, poetry, and music.
Written largely within the galleries of the Metropolitan Museum of Art, Lost Wax is an inquiry into the ways we curate memory and human experience despite the limits of observation and language. In these essays, Parms exhibits and examines her greatest obsessions: how to describe the surface of marble or bronze; how to embrace the necessary complexities of identity, stillness and movement, life and death--how to be young and alive.
- ISBN-13: 9780820350158
- ISBN-10: 082035015X
- Publisher: University of Georgia Press
- Publish Date: September 2016
- Page Count: 168
- Dimensions: 8.57 x 5.49 x 0.49 inches
- Shipping Weight: 0.55 pounds
Series: Crux: The Georgia Series in Literary Nonfiction
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2016-06-20
- Reviewer: Staff
Following the inspiration for this book’s title, the lost wax method for making cast sculpture, the essays in Parms’s delicately molded collection find their form and meaning through meditations on containers and absence. She writes about journeys and distance, freedom and captivity, the losses of pets and people, and “how material textures enclose our living impulses.” Parms’s prose is as elegant and studied as the classical sculpture she admires, making wonderful leaps and astonishing juxtapositions through which her precise, startling images emerge like etchings on glass. The individual essays, though varied in subject, return to certain pulse points: the ruptures of sudden violence, the “stagnant and familiar pool of grief,” the “secular bohemia” of her childhood, and the vagaries of language, of which there is “nothing more decadent or sacred, nothing more delicate or savage.” Her reveries on substance, color, and “the intricate grace of still life” provide models for creating art and capturing the line that makes understanding leap to life. “Interpretation lies at the mercy of the viewer,” Parms writes, but each entry here carries lessons on loss and memory, and on “how we come to know the materials of the body and the brain: the substance of being alive.” Illus. by author. (Sept.)