{"id":110387,"date":"2017-04-28T16:21:23","date_gmt":"2017-04-28T20:21:23","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110387"},"modified":"2017-04-28T17:38:08","modified_gmt":"2017-04-28T21:38:08","slug":"staff-picks-2","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/","title":{"rendered":"Staff Picks: Bikes, Bogs, Bolshies"},"content":{"rendered":"
<\/a>

From You & a Bike & a Road<\/i>.<\/p><\/div>\n

 <\/p>\n

I\u2019m kind of in awe of Eleanor Davis\u2019s drawings. Her color work creates whole new worlds, but her black-and-white art is really eye-popping. In a comic last year, she made a remarkable drawing of two intertwined figures that breeds Japanese\u00a0shunga<\/em>\u00a0with Aubrey Beardsley\u2019s switchblade Art Nouveau. In her new book,\u00a0You & a Bike & a Road<\/a><\/em>, she leaves many of the drawings uninked. The comic logs her solo trip, by bike, from Phoenix to Athens, Georgia, over the course of fifty-eight days; the bare pencils accentuate the spontaneity of her adventure and her recording of it and reveal the impressive underpinning of her art. The array of forms that are so vivid in her color work come through here as layers of patterns or as gentle, articulate outlines. Her characteristic hulking but weightless figures are drawn with a fluidity that begins to approximate Saul Steinberg\u2019s uncannily descriptive line: the quick tiny marks indicating a man\u2019s underarm hair, the ethereal contour\u00a0of enormous\u00a0clouds hovering over a broad landscape, the symphonic\u00a0chaos of a city scene. There is sometimes the sense that as she travels, the road and landscape exist only just ahead of her front tire, as they do for Harold and his crayon, and that making discoveries is only a matter of pushing forward, even when you don\u2019t know if you can and even when you don\u2019t know what lies down the road. \u2014Nicole Rudick<\/strong><\/p>\n

To mention the lost generation these days is to summon a miasma of Left Bank clich\u00e9s and nostalgia for expat glamour. None of that works its way into Julia L. Mickenberg\u2019s American Girls in Red Russia: Chasing the Soviet Dream<\/a><\/em>,\u00a0<\/em>which focuses on\u00a0an entirely different sort of lostness. Forget \u201cBernice Bobs Her Hair\u201d: this is \u201cBernice Becomes a Bolshie.\u201d At the heart of the book is Ruth Epperson Kennell, who in 1922 left San Francisco for Siberia, where she and other like-minded Americans founded a communist colony. Kennell and her cohort valorized the working life. \u201cWe are building here,\u201d she wrote in The Nation<\/em>, \u201cnot a new Atlantis, but a new Pennsylvania.\u201d As that decidedly unglamorous description suggests, life in the colony was full of drudgery, and the equality Kennell sought was not always in evidence. But with time she came to feel liberated in Siberia, especially when communism helped her shrug off bourgeois morality: in short order she dumped her husband, swam nude, and found love. \u201cI seemed to move in a dream world,\u201d she wrote, \u201cconstructed of desires I had never hoped could be realized.\u201d Mickenberg tells Kennell\u2019s story\u2014and those of many other women who traded domestic servitude for Das Kapital<\/em>\u2014with flair and aplomb. And there\u2019s not a flapper in sight. \u2014Dan Piepenbring\u00a0<\/strong>
\n<\/p>\n

<\/a>

Left, Ruth Kennell in Siberia; right, the Kuzbas colony in Siberia.<\/p><\/div>\n

Mary Gaitskill has published fiction in nearly every journal and magazine of note. Now, in Somebody with a Little Hammer<\/em><\/a>, a collection of essays, her nonfiction is getting its due. In her essay on date rape\u2014published in Harper\u2019s <\/em>in 1994 (and little, sadly, has changed since then)\u2014she looks at the rules and semantics of courtship as they\u2019ve played out in her own life: \u201cIf I said no, things could get ugly, and I don\u2019t think he had any idea of how unwilling I was\u2014the cultural unfamiliarity cut both ways \u2026 My bad time was made worse by his extreme gentleness; he was obviously trying hard to turn me on, which, for reasons I didn\u2019t understand, broke my heart.\u201d Gaitskill writes about sex\u2014its social customs, expectations, and, of course, that whole\u00a0\u201cinterpersonal\u201d part\u2014with clarity and grace, slashing as many binary oppositions as\u00a0she can along the way: \u201cTo teach a boy that rape is \u2018bad\u2019 is not as effective as making him see that rape is a violation of his own masculine dignity as well as a violation of the raped woman \u2026 Learning by example runs deep.\u201d A large part of the book is given over to Gaitskill\u2019s book reviews, and she\u2019s an excellent critic, balancing generous readings with a shrewd eye\u2014she never bares teeth, even when what she has to say is negative. \u2014Jeffery Gleaves<\/strong><\/p>\n

Ernst Meister\u2019s collection Wallless Space<\/a><\/em>, in translation from Wave Books, is like a rock cairn in some foggy, existential German bog. Each of Meister\u2019s poems is small, hard, pointing both somewhere and nowhere. An early stanza in the collection reads, \u201cScent of flowers \/ only \/ thought left.\u201d Haunting<\/em> is not the right word for this, but Meister is clearly concerned with ethereal questions about consciousness; his lines, in their brevity, can be both elegant and unsettling, evocative of abstract questions about the nature of space and how thought can occupy it. Another stanza: \u201cI won\u2019t find out \/ what earth might be \/ when I myself \/ am earth.\u201d Meister studied for a time with the German philosopher Karl L\u00f6with, and his work is informed by that continental tradition, right down to its\u00a0tendency toward dialectical circularity. His paradoxes sit there and expand, as do many poems from this collection\u2014lean, dense, kinetic, asking about the misty whole of being. \u2014Noah Dow<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In this week\u2019s staff picks: Mary Gaitskill, Eleanor Davis, Ernst Meister, and more.<\/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":[28572,131,1465,16257,28574,28571,748,7221,165,9619,17693,28573,883,28575,28570],"class_list":["post-110387","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-american-girls-in-red-russia","tag-comics","tag-drawing","tag-eleanor-davis","tag-ernst-meister","tag-julia-l-mickenberg","tag-mary-gaitskill","tag-poems","tag-poetry","tag-recommended-reading","tag-siberia","tag-somebody-with-a-little-hammer","tag-staff-picks","tag-wallless-space","tag-you-a-bike-a-road"],"acf":[],"yoast_head":"\nStaff Picks: Mary Gaitskill, Eleanor Davis, Ernst Meister, and More<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review is reading this week.\" \/>\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\/2017\/04\/28\/staff-picks-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Bikes, Bogs, Bolshies by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"April 28, 2017 \u2013 In this week\u2019s staff picks: Mary Gaitskill, Eleanor Davis, Ernst Meister, and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/\" \/>\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=\"2017-04-28T20:21:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-04-28T21:38:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/davis-bike-koyama-aiga-3.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1182\" \/>\n\t<meta property=\"og:image:height\" content=\"652\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Bikes, Bogs, Bolshies\",\"datePublished\":\"2017-04-28T20:21:23+00:00\",\"dateModified\":\"2017-04-28T21:38:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/\"},\"wordCount\":902,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/04\/28\/staff-picks-2\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/davis-bike-koyama-aiga-3.jpg\",\"keywords\":[\"American Girls in Red Russia\",\"comics\",\"drawing\",\"Eleanor Davis\",\"Ernst Meister\",\"Julia L. 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