{"id":102667,"date":"2016-09-15T09:25:06","date_gmt":"2016-09-15T13:25:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=102667"},"modified":"2016-09-15T11:19:12","modified_gmt":"2016-09-15T15:19:12","slug":"wont-get-anywhere-taking-stairs-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/15\/wont-get-anywhere-taking-stairs-news\/","title":{"rendered":"You Won\u2019t Get Anywhere Taking the Stairs, and Other News"},"content":{"rendered":"<div id=\"attachment_102669\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/15heatherwick2-master675.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-102669\" class=\"wp-image-102669\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/15heatherwick2-master675.jpg\" width=\"600\" height=\"400\" \/><\/a><p id=\"caption-attachment-102669\" class=\"wp-caption-text\">Thomas Heatherwick\u2019s <i>Vessel<\/i>, in a rendering by Forbes Massie-Heatherwick Studio.<\/p><\/div>\n<ul>\n<li><em>The Paris Review<\/em>\u2019s offices are in Chelsea, where we attract hundreds of thousands of tourists every day. (What, you thought all those people were here for the High Line?) But now there\u2019s a new attraction in town: stairs. Lots and lots of stairs, beautifully arranged, and going nowhere. It\u2019s part of an ambitious new sculpture that some have dubbed \u201cthe social climber\u201d: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/09\/15\/arts\/design\/hudson-yards-own-social-climbing-stairway.html\" target=\"_blank\">Big, bold and basket-shaped, the structure, <em>Vessel<\/em>, stands fifteen stories, weighs 600 tons and is filled with 2,500 climbable steps<\/a>. Long under wraps, it is the creation of Thomas Heatherwick, forty-six, an acclaimed and controversial British designer \u2026 Mr. Heatherwick said <em>Vessel<\/em> was partly inspired by\u00a0Indian stepwells,\u00a0but he also referred to it as a climbing frame\u2014what Americans would call a jungle gym\u2014as well as \u2018a Busby Berkeley musical with a lot of steps.\u2019\u2009\u201d<\/li>\n<\/ul>\n<ul>\n<li>If you\u2019re not into steps, just visit the city for the pavement. There\u2019s a lot of it\u2014and if you squint a bit or take the right drugs or just give it a good long think, you\u2019ll see how interesting it is. Edwin Heathcote argues that \u201c<a href=\"http:\/\/www.ft.com\/cms\/s\/0\/83bf6932-6f9c-11e6-a0c9-1365ce54b926.html\" target=\"_blank\">the pavement is the skin of the city, a membrane that separates the veneer of civilization from the darkness of the earth<\/a> \u2026 The pavement is a paradoxical thing. It begins as a symbol of civilization and liberation but also becomes a kind of final resort, the domain of the homeless, of beggars and of defecating dogs. A city\u2019s attitude to its street surface reveals much about its ideas of civic space, of ownership and generosity \u2026 \u2018I think that our bodies are in truth naked,\u2019 wrote Virginia Woolf in\u00a0<em>The Waves<\/em>. \u2018We are only lightly covered with buttoned cloth; and beneath these pavements are shells, bones and silence.\u2019\u2009\u201d\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>What if I told you I had the inside poop on how to get your poem in <em>The New Yorker<\/em>? It\u2019s not advice, per se \u2026 it\u2019s a kind of recipe, you see, that you have to follow to the letter. In <em>Triple Canopy<\/em>, Abraham Adams tells you how it\u2019s done: \u201c<a href=\"https:\/\/www.canopycanopycanopy.com\/contents\/say--ah\/#title-page\" target=\"_blank\">The poems I read in the\u00a0<em>New Yorker\u00a0<\/em>when I was a kid seemed to have a particular sound, a tone at once affective and stylistic, which I now recognize as the result of the constraint that the meaning of words be transparent<\/a>. So they managed to be simultaneously plainspoken and rhetorically high-flown (\u2018difficult,\u2019 but only \u2018delightfully\u2019 so); they narrated personal experiences in a sometimes loose but usually audible meter; they tended to end with a flourish that took me some time to define \u2026 A real\u00a0<em>New Yorker<\/em>\u00a0poem, which is basically a communiqu\u00e9 on experience from a subject for whom language is a fun tool without history, also ends with a flourish, a coda that signals the seamless transmission of experience to the reader.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Sometimes you hear nationalist-type people talking up their languages: \u201cMy language is so unique. There\u2019s no language like my language.\u201d Poppycock. A new study suggests that the same sounds might occur in words for the same concepts across many different languages: \u201c<a href=\"http:\/\/www.economist.com\/news\/science-and-technology\/21707183-different-languages-sound-more-similar-you-might-expect-distant-languages?fsrc=scn\/tw\/te\/bl\/ed\/\" target=\"_blank\">The words for <em>nose<\/em>, for instance, often involve either an <em>n<\/em> sound or an <em>oo<\/em> sound, no matter the language in question<\/a> \u2026 There are several theories. One is that some objects have names whose sounds bring them to mind, a sort of \u2018sound symbolism.\u2019 Employing a nasal <em>n<\/em> sound to name a nose would be one example. Another is that sensory associations play a role. Studies have found that people routinely associate darker colors with lower sounds and lighter colors with higher ones, for instance. Such shared synesthesia might account for some of the similarities. Or the commonalities might be leftovers from some ancient, now-forgotten proto-language.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In which Tomas Unger spends some quality time with Philip Larkin\u2019s photographs: \u201c<a href=\"http:\/\/www.threepennyreview.com\/samples\/unger_f16.html\" target=\"_blank\">If these photographs are invaluable for the way they send us back to the poems with new eyes, now and then you alight on a Larkin image that seems to stand as achieved art in its own right<\/a>. There are some striking crowd-scenes, such as a photo inscribed \u2018To the Match\u2019: a procession of football fans trooping toward the grounds, some walking, some on bicycles, their backs turned toward us, any hints of identity subsumed by the suggestion of a common motion, so that the scene takes on the somewhat disquieting energy of dream-vision. For another picture, Larkin got in close to capture the streetside spectators of some public event (kept artfully out of view, indeterminate), their richly varied expressions\u2014exuberance, boredom, anticipation, faint concern\u2014showing the photographer\u2019s sensitivity to the everyday drama of massed individuality.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The Paris Review\u2019s offices are in Chelsea, where we attract hundreds of thousands of tourists every day. (What, you thought all those people were here for the High Line?) But now there\u2019s a new attraction in town: stairs. Lots and lots of stairs, beautifully arranged, and going nowhere. It\u2019s part of an ambitious new sculpture [&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":[1657,1922,5931,12511,687,1277,949,2253,7221,165,24125,964,40,24529,24530],"class_list":["post-102667","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-architecture","tag-chelsea","tag-cities","tag-city-life","tag-language","tag-linguistics","tag-pavement","tag-philip-larkin","tag-poems","tag-poetry","tag-research-studies","tag-sculpture","tag-the-new-yorker","tag-thomas-heatherwick","tag-vessel"],"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>Stairs to Nowhere: Thomas Heatherwick\u2019s \u201cVessel\u201d<\/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\/09\/15\/wont-get-anywhere-taking-stairs-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"You Won\u2019t Get Anywhere Taking the Stairs, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"September 15, 2016 \u2013 The Paris Review\u2019s offices are in Chelsea, where we attract hundreds of thousands of tourists every day. 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