{"id":111495,"date":"2017-06-02T15:55:06","date_gmt":"2017-06-02T19:55:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111495"},"modified":"2017-06-03T19:15:33","modified_gmt":"2017-06-03T23:15:33","slug":"staff-picks-twang-texture-truck-drivers","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/02\/staff-picks-twang-texture-truck-drivers\/","title":{"rendered":"Staff Picks: Twang, Texture, Truck Drivers"},"content":{"rendered":"
<\/a>

Robert Rauschenberg.<\/p><\/div>\n

 <\/p>\n

If you, like me, are a fan of Harry Chapin\u2019s \u201cThirty Thousand Pounds of Bananas<\/a>,\u201d you\u2019ll love Finn Murphy\u2019s The Long Haul: A Trucker\u2019s Tales of Life on the Road<\/em><\/a>. Murphy, a truck driver since 1980, lets us ride along as he crisscrosses the U.S. ad infinitum. We journey down Colorado\u2019s deadly Loveland Pass, where he sweats his air brakes\u2019 ability to hold; bomb straight through 199 miles of South Carolina swampland in a nine-truck convoy; and get lost out in America\u2019s lonely \u201ccouple of thousand miles of corn.\u201d The Long Haul<\/em> delivers because it is a survey of a culture fused to a working man\u2019s memoir\u2014and Murphy, smartly, avoids sentiment and lazy comparisons: \u201cI do not for a moment think I\u2019m a symbol of some bygone ideal of Wild West American freedom of any other half-mythic, half-menacing nugget of folk nonsense.\u201d There\u2019s a theory that the secret engine of American literature is movement\u2014Melville sent Ishmael to sea, Kerouac hit the road, Don DeLillo forced the Gladneys out of their home\u2014and if it\u2019s true, it\u2019s amazing we haven\u2019t yet seen the Great American Truck-Driving Novel. Once a viable career, the job is threatened by cost-cutting corporate structures and the inevitable adoption of driverless cars; soon truckers may go the way of whalers and typesetters. Maybe, as America\u2019s reliance on the profession fades into the rearview mirror, we\u2019ll see that novel yet: I predict, and hope, that The Long Haul<\/a> <\/em>marks the beginning of a new set of American road tales. \u2014Jeffery Gleaves<\/strong><\/p>\n

MoMA\u2019s huge Rauschenberg show\u2014\u201cRobert Rauschenberg: Among Friends<\/a>\u201d\u2014has opened, and, as Dan has already pointed out<\/a>, opinions of his work will abound. Mine was formed long ago; Rauschenberg\u2019s was among the first art that appealed to foundational elements in my own aesthetic: texture, materiality, color, unruliness. I caught his massive traveling retrospective when it came to Houston in 1998 and so have seen a good deal of the work in this new show, but I wasn\u2019t aware of the extent to which collaboration, which this exhibition aims to highlight, was central to his practice. I knew, for instance, of the sets and costumes he made for Merce Cunningham and for Trisha Brown, but not that he\u2019d shared studio space with a young Cy Twombly and that Twombly contributed to his friend\u2019s early Combines; that he staged the process-based program\u00a0Hommage \u00e0 David Tudor<\/em>\u00a0in 1961 with Niki de Saint Phalle, Jasper Johns, and Jean Tinguely; that he was friends with \u00d6yvind Fahlstr\u00f6m and the two traded work (on view is Fahlstr\u00f6m\u2019s translation of\u00a0Rauschenberg\u2019s name into Birdo, Fahlstr\u00f6m\u2019s invented language based on bird sounds). He and Johns shared a studio in the late fifties, and\u00a0Rauschenberg\u00a0recalled, \u201cJasper and I literally traded ideas. He would say, \u2018I\u2019ve got a terrific idea for you,\u2019 and then I\u2019d have to find one for him.\u201d \u2014Nicole Rudick\u00a0<\/strong><\/p>\n

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

A nice balm for me this week has been\u00a0this<\/a>\u00a0pair<\/a>\u00a0of 1970s albums by the country musician Will Beeley, to be rereleased by Tompkins Square Records at the end of the month. Beeley made the first, a mellifluous, heartfelt set of originals (plus a cover of Bob Dylan\u2019s \u201cYou Ain\u2019t Going Nowhere\u201d) called\u00a0Gallivantin\u2019<\/a><\/em>, in a small studio in San Antonio, Texas, in 1971. The second,\u00a0Passing Dream<\/a><\/em>\u2014a rougher, huskier, twangier package\u2014came nearly\u00a0ten years later\u00a0in a proper studio in Mississippi. Beeley never found fame, nor did he make more music after that; he faded peaceably into obscurity, and now, with his wife, he\u2019s a long-haul truck driver, carrying \u201cdifferent types of cryogenic frozen liquids\u2014liquid natural gas, liquid nitrogen, and most recently liquid helium.\u201d And yet his musical reputation has soared: today, original copies of\u00a0Gallivantin\u2019<\/em>\u00a0 fetch a cool nine hundred dollars apiece. Because I\u2019m in the habit of stalking longing, especially when country\u2019s involved, I\u2019m withered by the echoes between \u201cEaster\u00a0Sunday\u00a0Song\u201d from that first album\u2014\u201cI had a dream, but even that\u2019s unclear \/ I know it could have last, but I don\u2019t see it anymore. \/ Things we had departed out the door\u201d \u2014and from the title song on the second\u2014\u201cIs it all just a passing dream, left for someone else to find?\u201d\u2014Caitlin Love<\/strong><\/p>\n

The Washington Post<\/em>\u2019s David Weigel has dared to write a book about something terminally uncool: progressive rock. The Show That Never Ends<\/a> <\/em>charts prog\u2019s unlikely rise in the seventies, when, for abstruse reasons, it became permissible for self-serious young men to produce mythological slabs of vinyl, rife with bizarre instrumentation, byzantine chord changes, and senselessly complicated time signatures. And people liked <\/em>it. Weigel defends the genre charmingly and often convincingly\u2014\u201cit was music that copied nothing and could be replicated by nobody,\u201d he notes in his introduction\u2014and even if you\u2019ve never owned a copy of Dark Side of the Moon<\/em>, you\u2019ll find plenty to enjoy in his chronicles of the era\u2019s excesses and oddities. Has his book softened my disdain for Rush? Well, no. But it\u2019s only strengthened my affection for King Crimson. \u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

What the staff of The Paris Review is reading this week.<\/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":[10118,35,17,19216,29045,71,29044,29051,29041,705,46,2165,29052,29047,29048,29049,53,9619,6718,883,29043,29046,29042,26506,29050],"class_list":["post-111495","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-albums","tag-art","tag-books","tag-country-music","tag-david-weigel","tag-fiction","tag-finn-murphy","tag-gallivantin","tag-harry-chapin","tag-moma","tag-music","tag-nonfiction","tag-passing-dream","tag-prog","tag-prog-rock","tag-progressive-rock","tag-reading","tag-recommended-reading","tag-robert-rauschenberg","tag-staff-picks","tag-the-long-haul","tag-the-show-that-never-ends","tag-truck-drivers","tag-trucks","tag-will-beeley"],"acf":[],"yoast_head":"\nStaff Picks: Finn Murphy, Robert Rauschenberg, and 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