{"id":86839,"date":"2015-06-19T17:33:07","date_gmt":"2015-06-19T21:33:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=86839"},"modified":"2015-06-19T18:02:07","modified_gmt":"2015-06-19T22:02:07","slug":"staff-picks-ditch-baths-and-bee-lives","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/19\/staff-picks-ditch-baths-and-bee-lives\/","title":{"rendered":"Staff Picks: Ditch Baths and Bee Lives"},"content":{"rendered":"
\"wolfpack-1024\"<\/a>

The Angulo brothers, in The Wolfpack.<\/i><\/p><\/div>\n

\"9780307700322\"<\/a>Two<\/a>–thirds<\/a> of Jane Smiley\u2019s Last Hundred Years trilogy has been published\u2014the second volume just came out a month or so ago\u2014and if you haven\u2019t started it yet, it\u2019s not too late to begin. And you should: they\u2019re so good. Smiley\u2019s process is additive\u2014three books\u2019 worth of Langdon family history, a long recitation of individual lives with history and politics playing out in the background. They remind me of another book of hers I love,\u00a0The Greenlanders<\/a><\/em>, a medieval saga that follows the travails of a small community over some nine hundred pages. Smiley\u2019s writing in all three books is spare and lean; she resists adding authorial commentary and is content, instead, to stand back and watch her characters make their own way. I wondered whether the second volume would be as satisfying as the first. It is and it isn\u2019t: the story is utterly addictive and only left me wanting more. I\u2019m grateful there\u2019s a third one on the way, but I don\u2019t know how I\u2019ll cope after that. \u2014Nicole Rudick<\/strong><\/p>\n

In last year\u2019s profile of William Vollmann for The New Republic<\/em>, Tom Bissell remarked of Vollmann\u2019s forthcoming 1,300-page tome, The Dying Grass<\/em><\/a>, \u201cIt sound[s] a bit like William Gaddis, except more insane<\/a>.\u201d I\u2019m happy to report that it is, in fact, insane. This demented opus is book five in his seven-volume (!) series<\/a> concerning the settlement of North America; The Dying Grass <\/em>focuses on the Nez Perce War of 1877. After years of broken treaties and strained relations, the Nez Perce refused to give up their ancestral lands\u00a0and move to an Indian reservation in Idaho, deciding they\u2019d rather to take up arms against the \u201cBostons,\u201d led by the devoutly Christian, and possibly inept, one-armed Civil War veteran General O. O. Howard. Though outgunned, the Nez Perce manage to slip Howard\u2019s grasp at every turn, dragging the war though Oregon, Idaho, and much of Montana, for five months. The book plods along as the campaign must have, but it\u2019s filled with vivid characters and rich history. Its layout can mystify: the left side of the\u00a0page features dialogue occurring in real time, and right side of the page contains what must be these characters\u2019 thoughts as they talk to one another. But if you\u2019re interested in entering Vollmann\u2019s headspace, The Dying Grass <\/em>is worth it, even if you sometimes suspect he wrote the book faster than you can read it. \u2014Jeffery Gleaves
<\/strong><\/p>\n

\"Maurice_de_Maeterlinck\"<\/a>My uncle recently started keeping honeybees in his backyard in the Bronx, a fact I\u2019d forgotten last weekend when I wandered behind his house, only to be confronted by a few thousand of them streaming in and out of his three hives. So this week I\u2019ve been making my way through Maurice Maeterlinck\u2019s The Life of the Bee<\/em><\/a>, written in\u00a01901. Maeterlinck has largely disappeared from our shelves, for a number of possible reasons. His popularity in Europe and Russia began to grow as realism was tightening its grip around American theater; a symbolist, he wrote plays that are difficult and deeply weird, and he may have plagiarized one of his last books. But in The Life of the Bee<\/em>, Maeterlinck harnesses his more alienating tendencies into the peculiarity of the project itself. Such a book-length meditation would seem a medieval, or even Aristotelian, undertaking. And it is, sort of, but Maeterlinck doesn\u2019t look to the bee for lessons on living a human life. Instead, the prose\u2014still lyrical and clear a century later in its only English translation\u2014somehow never drifts too far from the hive. This whole week I\u2019ve been trying to see myself in bees, but he will not let me. He makes no pretense: he\u2019s after the truth of being a bee, the beauty of being a bee, for the simple reason that bees, along with people like Materlinck and my uncle, have their own strange truths and inscrutable wonders. \u2014Jake Orbison<\/strong><\/p>\n

Running into the Angulo brothers on the street, as Crystal Moselle did five years ago, <\/em>must have been a documentarian\u2019s fantasy\u2014the experience launched Moselle\u2019s new film,\u00a0The Wolfpack<\/a><\/em>. The six Angulo boys, then between twelve and nineteen, had been all but imprisoned in their apartment on the Lower East Side. Their father, who adheres to an unspecified\u00a0m\u00e9lange of hippie radicalism, Hare Krishna, and codified social phobia, kept the boys hidden from the corrupting influence of the outside world \u2026 which, apparently, he didn\u2019t think could filter in through the five thousand films comprised by their DVD collection. Moselle follows the boys on their first ventures into the \u201creal\u201d world, where they experience nature as a set of movie references: the beach at Coney Island looks \u201cjust like\u00a0Lawrence of Arabia<\/em>,\u201d the trees in the park like\u00a0The Lord of the Rings.\u00a0<\/em>The brothers\u2019 mannerisms are derived from the screen; when they\u2019re not reenacting films word-for-word, they walk like movie characters, dress like movie characters, curse like movie characters. They repeatedly tell the camera they don\u2019t know how to interact with outsiders. Sitting in a theater with hundreds of those outsiders, I felt as though the boys were being exposed, their social inexperience exploited. Any yet there\u2019s nothing they are more experienced with than movies.\u00a0With Moselle\u2019s help, they\u2019ve become exactly what their models for real-world behavior are: characters on a screen.\u00a0\u2014Rebecca Panovka<\/strong><\/p>\n

This week, I\u2019ve been making my way through an old collection of stories by Elizabeth Tallent, Time with Children<\/a><\/em>, which serendipitously found its way to my desk. Longtime readers of the Review<\/em> might remember Tallent\u2019s name: her story \u201cMigrants,\u201d about a young Coloradan girl impressed by the nakedness of a man from Mexico bathing in an irrigation ditch, was first published in our Spring 1986 issue<\/a>. The collection is, at times, overthought, but I admire the delicacy of Tallent\u2019s prose, especially her descriptions of the countryside. Her stories pursue the \u201clittle murders of the soul\u201d\u2014to borrow from Vivian Gornick<\/a>\u2014that we\u2019re always committing against one another. In the collection, a woman, hit by her husband, fucks her best friend from the first grade, who thinks it means something\u2014it doesn\u2019t; another heroine is more devoted to a sorrel horse than to her doting lover; an eighteen-year-old girl imagines how the pages of her diary will read in a year or two, while her much-older lover pushes her head beneath the dashboard of his pickup as his wife passes by. Tallent kneads at her themes of lonesomeness and infidelity, the erosion of love and trust, leaving us to wonder if we, like the magpies she writes about on the very first page, \u201csimply like the mess.\u201d \u2014Caitlin Youngquist<\/strong><\/p>\n

\"drinkbot\"<\/a>I\u2019ve been making my way through \u201cWhat Is Code?<\/a>\u201d, Paul Ford\u2019s 31,387-word disquisition on programming and the almost absurd degree to which it impinges on everything we do, think, and feel. Programming has become an arid, tired subject:\u00a0its importance is self-evident, but its details are impenetrable, and countless writers have tried to make it accessible to the layman. And yet Ford\u2019s essay, which comprised the entire issue of last week\u2019s\u00a0Bloomberg BusinessWeek<\/em>, is oddly riveting, even in its digressions; it\u2019s everything a primer should be, in that it charges its subject with awe and disguises pedagogy with good storytelling. I now know about the history of software development, the back end of Web architecture, and the differences between about a dozen programming languages, and I feel as if I\u2019ve earned the certificate of completion that concludes the piece. \u00ad\u2014Dan Piepenbring<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Two–thirds of Jane Smiley\u2019s Last Hundred Years trilogy has been published\u2014the second volume just came out a month or so ago\u2014and if you haven\u2019t started it yet, it\u2019s not too late to begin. And you should: they\u2019re so good. Smiley\u2019s process is additive\u2014three books\u2019 worth of Langdon family history, a long recitation of individual lives […]<\/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":[18515,18516,2084,18514,16288,11678],"class_list":["post-86839","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-crystal-moselle","tag-elizabeth-tallent","tag-jane-smiley","tag-maurice-maeterlinck","tag-paul-ford","tag-william-vollman"],"acf":[],"yoast_head":"\nStaff Picks: Smiley, Vollman, Maeterlinck, Ford<\/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\" 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