{"id":80559,"date":"2014-12-05T18:59:02","date_gmt":"2014-12-05T23:59:02","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=80559"},"modified":"2014-12-07T10:54:59","modified_gmt":"2014-12-07T15:54:59","slug":"staff-picks-reading-aloud-rayon-dresses-red-phones","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/05\/staff-picks-reading-aloud-rayon-dresses-red-phones\/","title":{"rendered":"Staff Picks: Reading Aloud, Rayon Dresses, Red Phones"},"content":{"rendered":"
\"mvr-alarmira-za-telefonnite-izmamnici-v-kiustendilsko-157452\"<\/a>

Straight to Moscow.<\/p><\/div>\n

Our Summer issue this year included Garth Greenwell\u2019s story \u201cGospodar<\/a>.\u201d Though I didn\u2019t then know that Greenwell is also a poet, it now seems obvious: his language in the story is economical and precise and yet so fluid. Two and a half years ago, Greenwell\u2019s friend, Max Freeman, a filmmaker and photographer, filmed him reading three of his poems<\/a>. Greenwell is a superb reader, and I was transfixed by the movement of his face on camera\u2014\u201centhralled like a bird before a snake,\u201d as he says in the first poem. (Actually, I had to watch the video a couple times because I forgot to pay attention to the words the first time.) The oddly touching \u201cFaculty Meeting with Fly\u201d is the second poem, in which a fly provides interest and pleasure during an otherwise dull moment: \u201cNo one before has traced precisely that path \/ along the thinner vein of my wrist, yet you take \/ such delight there \/ \u2026 while \/ beneath you subterraneously my blood must roar \/ and thrum you like a lyre.\u201d But it\u2019s the last poem, \u201cAn Evening Out\u201d\u2014wistful, gorgeous, and sad\u2014that makes the video, and Greenwell\u2019s face, so compelling. \u2014Nicole Rudick<\/strong><\/p>\n

I haven\u2019t read many novels as spooky and sublime and psychologically acute as Forrest Gander\u2019s The Trace<\/a>. <\/em>It\u2019s the portrait of a couple in crisis and their misguided road trip through the Chihuahua desert, on the tracks of the writer Ambrose Bierce. Gander\u2019s landscapes are lyrical and precise (\u201craw gashed mountains, gnarly buttes of andesite\u201d), and his study of a marriage on the rocks is as empathetic as it is unsparing. \u2014Robyn Creswell<\/strong><\/p>\n

Sarah Lazarovic sat down with her brushes and did not stop painting until she\u2019d revealed her entire messy, colorful, and witty journey from a teenaged \u201cfashion-maybe\u201d to a bona fide adult shopping ambassador. In her charmingly illustrated new book, A Bunch of Pretty Things I Did Not Buy<\/a><\/em>, Lazarovic explains how a mall-lovin\u2019 middle-schooler\u2019s early obsession with scrunchy socks later ballooned into a full-blown consumer obsession with clothes of every possible description. Lazarovic\u2019s story will especially resonate for the late Gen Xer who may have similarly cycled through the Gap Girl to Thrift Girl to Goth Girl to I-just-can\u2019t-have-enough-little-rayon-dresses-for-under-twenty-bucks Girl, who along the way also made good use of the venerable scrunchie and the ubiquitous safety pin when the outfit or occasion called for it. Lazarovic meditates on the \u201cill-defined distinction between fashion and shopping,\u201d stating that \u201cin childhood we create fashion with very little shopping (except you, Suri Cruise).\u201d Her adult self craves a minimal wardrobe and a spare closet. She writes, \u201cWhat I love best is how time often reveals a solution to what I need that doesn\u2019t involve buying.\u201d She closes her diary with expert tips on how to fill your own closet with quality over mass quantity.\u00a0\u2014Charlotte Strick
<\/strong><\/p>\n

I\u2019ve just read this bit from Paul Ford\u2019s latest piece on Medium<\/a>, which seems too good not to quote. His friend once told him a story: \u201cHe was working for a huge old engineering firm and one of the firm\u2019s weird jobs is to keep the line open between the United States and Russia\u200a\u2014\u200ato maintain the \u2018red phone.\u2019 He\u2019d visit the facility sometimes. There is\u2014still, even now\u2014an underground, bomb-resistant facility with rows of blinking machines. It is staffed around the clock by graduate students in Russian literature. They\u2019ll read quietly, occasionally checking the line. I guess someone is on the other side, in Russia. There aren\u2019t many calls, of course. I guess they could, and probably should, shut it all down. Then again, the line is open and it works fine.\u201d \u2014Dan Piepenbring<\/strong><\/p>\n

Paul Harding\u2019s\u00a0Tinkers<\/a><\/em>\u00a0won the Pulitzer Prize for fiction in 2010, and at the risk of being late to the party, I must say it\u2019s brilliant. Harding\u2019s is a fusion of two worlds: this one and the one of memory. His protagonist, George Washington Crosby, is eight days shy of dying when we meet him\u2014a sojourner, as he is for the entirety of the book, of his living room, in a rented hospital bed. Lying there, George slips in and out of a realistic, albeit fantastical, reprise of his New England youth and relives his childhood from his deathbed. Through quiet and unsettling prose, we follow the impoverished Crosby family and their banal life: a wife aching to be loved, a husband drowning beneath his wife\u2019s expectations, and the children watching it all from the dinner table. In\u00a0Tinkers<\/em>, death and daydream coalesce, sentences pulsate with regret, and we are moved not by some outrageous grievance but by the poignancy with which Harding writes about loss, particularly the loss of a father: \u201cAnd that other world that you first dreamed is always better if not real, because in it you have not jilted your lover, forsaken your child, turned your back on your brother. The world fell away from my father the way he fell away from us. We became his dream.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Our Summer issue this year included Garth Greenwell\u2019s story \u201cGospodar.\u201d Though I didn\u2019t then know that Greenwell is also a poet, it now seems obvious: his language in the story is economical and precise and yet so fluid. Two and a half years ago, Greenwell\u2019s friend, Max Freeman, a filmmaker and photographer, filmed him reading […]<\/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":[6962,15,17,16,3686,16289,269,747,16288,673,53,16290],"class_list":["post-80559","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-ambrose-bierce","tag-arts","tag-books","tag-culture","tag-forrest-gander","tag-garth-greenwell","tag-magazines","tag-novels","tag-paul-ford","tag-paul-harding","tag-reading","tag-sarah-lazarovic"],"acf":[],"yoast_head":"\nStaff Picks: Garth Greenwell, Paul Ford, Forrest Gander, and More<\/title>\n<meta name=\"description\" content=\"What the staff of The Paris Review is enjoying this week.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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