{"id":74847,"date":"2014-08-01T18:45:59","date_gmt":"2014-08-01T22:45:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=74847"},"modified":"2014-08-04T07:05:30","modified_gmt":"2014-08-04T11:05:30","slug":"what-were-loving-slugs-sluggers-suet-pastry","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/08\/01\/what-were-loving-slugs-sluggers-suet-pastry\/","title":{"rendered":"What We\u2019re Loving: Slugs, Sluggers, Suet Pastry"},"content":{"rendered":"
\"Russell_Lee_Linotype_operators_of_the_Chicago_Defender_1941\"<\/a>

Linotype operators of the Chicago Defender<\/i>, 1941. Photo: Russell Lee<\/p><\/div>\n

Have you ever been reading, say, a George Eliot novel and suddenly wondered how the dry cleaning worked? Or what everyone used for toothpaste? Or how the farm women managed to do all that mowing in corsets? If this is the sort of question that interests you, prepare to be engrossed by\u00a0Ruth Goodman\u2019s How to Be a Victorian: A Dawn-to-Dusk Guide to Victorian Life<\/a><\/em>. No doubt some material will be familiar to viewers of Goodman\u2019s BBC series, Victorian Farm<\/em>, Edwardian Farm<\/em>, and Victorian Pharmacy<\/em>; having spent so much time costumed, cooking, and laboring for the camera, Goodman is terrific at describing the feel of heavy worsteds, or the craving for suet pastry, or the manual skills that she admires in Victorian men and, especially, women. Her admiration is contagious and, often, unexpectedly moving, as we see workmen tending to their gardens or little girls learning, from a magazine, how to sew by \u201cdressing dolly.\u201d This is cultural history even a kid could understand, and that (I suspect) even a scholar might enjoy. \u2014Lorin Stein<\/strong><\/p>\n

Roger Angell received the baseball Hall of Fame\u2019s award for writers last week, and I\u2019ve been reading through Game Time<\/a><\/em>, one of his many Baseball Companions. Angell had a way of getting players, especially pitchers, to talk about their craft with detail and clarity\u2014they\u2019re all philosophers of the game, as well as practitioners. In \u201cEasy Lessons,\u201d a piece about spring training in 1984, Angell talks with some older players who were winding up their careers. A thirty-seven-year-old Reggie Jackson says, \u201cI often think about coming to the end. It\u2019s fairly real\u2014it\u2019s a possibility\u2014and I can\u2019t say it doesn\u2019t bother me.\u201d Tom Seaver and Don Sutton talk pitching mechanics with a courtly, conversational style that is just like Angell\u2019s. With the Mets permanently stuck at five games under .500, it\u2019s a relief to revisit seasons past. \u2014Robyn Creswell<\/strong><\/p>\n

My grandfather worked as a linotype operator, carefully managing sorts and slugs (tiny letters and spaces cast from molten lead) to bring words into type. By definition, this meant he was a comprehensive and intimate reader of countless newspapers, books, and pamphlets over the course of his career, which saw the height of mechanical typesetting and its subsequent decline at the hands of electronic automation. What began as a highly sought-after union job\u2014one that allowed him to travel widely, working for presses in the U.S., Ireland, and Australia\u2014had essentially dried up by the time he retired at fifty-five. So I was heartened when I saw the meticulous shots of lead-letter type and mechanical printing presses and pigs (blocks of lead from which new type is molded) in a PBS feature on Arion Press<\/a>, one of the last presses dedicated to making books by hand, with hot metal typesetting on handmade pages and hand-sewn bindings. Arion is currently working on a special edition of Leaves of Grass<\/a><\/em>\u2014Whitman, a literary champion of the common man working with his hands, seems a fitting choice for this project. At Arion, you can see some of the last hand-typesetters on Earth, dedicated to an art that is all but lost. There are no big victories to be had against digitization, against the steady decline of books as treasured objects, as things to hold rather than screen sequences to be \u201c46 percent done\u201d with. There are only small, futile acts of defiance, and tiny letters made of lead. The full segment, which includes an interview with former poet laureate Robert Hass, airs tonight on PBS. \u2014Chantal McStay<\/strong><\/p>\n

Though I already quoted it at length in this morning\u2019s news roundup<\/a>, I can\u2019t endorse Rebecca Mead\u2019s latest column for The New Yorker<\/em>, \u201cThe Scourge of \u2018Relatability,\u2019\u2009<\/a>\u201d enough. The word relatable<\/em> was once the province, Mead explains, of daytime talk-show hostesses\u2014the word conjures manicured executives passing glossy focus-group results around a glass conference-room table. (\u201cWill it play in Peoria?\u201d Hollywood bigwigs used to ask, which amounts to the same concern.) But art and literature aren\u2019t, or shouldn\u2019t be, in the thrall of commerce. Why, then, do so many readers, including nominally intelligent ones like Ira Glass<\/a>, insist that relatability is a valuable metric? \u201cTo demand that a work be \u2018relatable\u2019 expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer,\u201d Mead writes; \u201cthe notion implies that the work in question serves like a selfie: a flattering confirmation of an individual\u2019s solipsism.\u201d Is this all we want from our artists\u2014affable, familiar depictions of everything we already recognize? If you\u2019re a reader who treasures relatability above all else, I can\u2019t relate to you at all. This may mean I should read a novel about you, but let\u2019s continue not to be friends. \u2014Dan Piepenbring
<\/strong><\/p>\n

Decades after its publication, The Stories of Breece D\u2019J Pancake<\/a><\/em> continues to mystify writers and readers. When I came across the collection my sophomore year in college, everything about it intrigued me: the name, Pancake\u2019s suicide, the Pulitzer nomination many years after his death. The stories themselves were raw, haunting, and beautiful\u2014as Kurt Vonnegut wrote to John Casey, \u201cWhat I suspect is that it hurt too much, was no fun at all to be that good. You and I will never know.\u201d In the Oxford American<\/em><\/a>, Marion Field recalls her parents\u2019 relationship with Pancake during his graduate studies at the University of Virginia. He was a conflicted outsider whom everyone respected, a manipulator who wanted to be understood. \u201cHe kept ghosts for company and couldn\u2019t explain to the khaki-wearing set what haunted him. It was more than the fiction alone and more than the grief of his real life.\u201d \u2014Justin Alvarez<\/strong><\/p>\n

\u201cManfeels Park<\/a>,\u201d a feminist web-comic, pairs scenes from Jane Austen novels with a slew of sexist comments from various quarters of the Internet, usually from \u201churt and confused men with Very Important Things to Explain.\u201d This week\u2019s edition, \u201cAusten Characters Against Feminism<\/a>,\u201d satirizes the now infamous Women Against Feminism<\/a> tumblr. My favorite strip highlights Lizzy Bennet herself\u2014Austen\u2019s most beloved heroine wasn\u2019t having your chauvinism then, and she isn\u2019t having it now. \u201cI don\u2019t need feminism because he loves me against his will, against his reason, and even against his character,\u201d she says. \u201cNo, wait \u2026\u2009\u201d \u2014Yasmin Roshanian<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Have you ever been reading, say, a George Eliot novel and suddenly wondered how the dry cleaning worked? Or what everyone used for toothpaste? Or how the farm women managed to do all that mowing in corsets? If this is the sort of question that interests you, prepare to be engrossed by\u00a0Ruth Goodman\u2019s How to […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[2062,14835,14836,11578,1137,14834],"class_list":["post-74847","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-arion-press","tag-breece-dj-pancake","tag-manfeels-park","tag-rebecca-mead","tag-roger-angell","tag-ruth-goodman"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: Slugs, Sluggers, Suet Pastry<\/title>\n<meta name=\"description\" content=\"This week's staff picks: Roger Angell's baseball lessons, the true stories of Breece D\u2019J Pancake, and Arion Press.\" \/>\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\/2014\/08\/01\/what-were-loving-slugs-sluggers-suet-pastry\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What We\u2019re Loving: Slugs, Sluggers, Suet Pastry by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"August 1, 2014 \u2013 Have you ever been reading, say, a George Eliot novel and suddenly wondered how the dry cleaning worked? 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