{"id":88199,"date":"2015-07-24T12:18:35","date_gmt":"2015-07-24T16:18:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88199"},"modified":"2016-04-03T18:15:56","modified_gmt":"2016-04-03T22:15:56","slug":"staff-picks-buses-basements-boots-bed-and-breakfasts","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/07\/24\/staff-picks-buses-basements-boots-bed-and-breakfasts\/","title":{"rendered":"Staff Picks: Buses, Basements, Boots, Bed-and-Breakfasts"},"content":{"rendered":"
\"Spacesuits\"<\/a>

Space suits.<\/p><\/div>\n

I finally got my hands on a copy of\u00a0Spacesuits<\/a><\/em>, an illustrated history of the protective clothing worn by space explorers, from the earliest designs in the 1930s to the universally recognizable suits worn during the Apollo missions. The book, with its clinically detailed photographs and methodical descriptions of suits, helmets, gloves, and boots, is surprisingly enthralling; one doesn\u2019t expect vacant clothing to so easily assert its own cultural significance. What\u2019s also surprising are the immense efforts required to preserve these suits\u2014which, it turns out, are among\u00a0the most fragile items in the Smithsonian\u2019s collection. For some rather timely evidence, look no further than the\u00a0Kickstarter campaign launched this week by the Smithsonian<\/a>\u2014with a $500,000 goal\u2014to better document, display, and preserve the space suit worn by Neil Armstrong\u00a0on\u00a0Apollo 11. \u2014Stephen Hiltner<\/strong><\/p>\n

I have copies of most of Dubravka Ugresic\u2019s books, and all of them are heavily dog-eared; flip to any page, and it\u2019s more likely than not that several sentences are underlined. I suspect my various notations are due to the fact that Ugresic pulls no punches, and so reading her work\u2014especially her nonfiction\u2014is like having it all laid out for you. And by \u201cit,\u201d I mean, to borrow from Douglas Adams, \u201clife, the universe and everything.\u201d The editors of\u00a0Music & Literature <\/em>have given over a third of their latest issue<\/a> to\u00a0Ugresic, and my copy of the magazine is already thoroughly dog-eared and underlined. Ugresic\u2019s writing is radical, accessible, aggressive, pungent, and funny, and she is one of the most unique writers in exile at work today\u2014and one of the best writers, period. In\u00a0an interview in the issue with Daniel Medin, she explains that \u201cas an outsider I was free to shape my own literary taste, to pick my own literary traditions, to build my own system of literary values.\u201d She is quick to add, however, that \u201cgoing against the mainstream is not an aesthetic category. Risk is moral category, which shapes our attitude toward our vocation as well as our ideological, political, aesthetical, and ethical choices.\u201d \u2014Nicole Rudick<\/strong><\/p>\n

\"nextnextlevel\"<\/a>Having just returned from a two-week tour in which my band played for many a small crowd in many a dank basement\u2014see photo below\u2014I approached Leon Neyfakh\u2019s The Next Next Level<\/a> <\/em>with some trepidation. It, too, concerns musicians, small crowds, and dank basements: that is, it concerns \u201cthe problem of making art in the twenty-first century.\u201d Neyfakh tells the story of his friend Juiceboxxx, a white rapper who\u2019s pursued his craft on the fringes of DIY<\/small> culture for more than a decade. Juiceboxxx, whose name belies his creative energy, tours constantly, publishes ceaselessly, and self-promotes relentlessly. But what\u2019s the point, really? As he tells an interviewer, \u201cWhen you fucking kind of have this identity based on this totally absurd premise\u2014like, where do you go if you want to stop doing it, man? Like, where do you go?\u201d As someone who\u2019s poured time and energy into a band called Vulture Shit, I ask myself these questions a lot. Neyfakh\u2019s perceptive, thoughtful book may not make them easier to answer, but it\u2019s a much-needed balm: a funny, broad-minded, enchanting reflection on the intersection of art and commerce. You\u2019ll find no better account of what it\u2019s like to make music outside the mainstream in 2015. \u2014Dan Piepenbring
<\/strong><\/p>\n

\"maintenance\"<\/a>Set in London in the not-too-distant past, The Maintenance of Headway<\/a><\/em> is a short philosophical novel about double-decker buses, the men who drive them, and the fools they carry\u2014i.e., us. \u201cRunners were divided into two sub-categories: \u2018logical\u2019 and \u2018illogical.\u2019 Logical runners ran in the same direction as the bus they were pursuing. Illogical runners were the ones who\u2019d given up waiting for the bus and begun walking towards the next stop. Then, when they suddenly heard the bus approaching, they came running back. It made no sense whatsoever.\u201d Having finished The Maintenance of Headway<\/em>, I was delighted to discover that the author, Magnus Mills, is in fact a bus driver. Delighted and not at all surprised.\u00a0\u2014Lorin Stein<\/strong><\/p>\n

Being trapped for three-and-a-half hours in the tchotchke-laden lobby of a bed-and-breakfast sounds like torture\u2014but the playwright Annie Baker isn\u2019t afraid to linger in the places you might most want to avoid. Her new play, John<\/a><\/em>, doesn\u2019t budge from the exquisitely kitschy ground floor of a Gettysburg, Pennsylvania,\u00a0B&B, even when all the action is taking place upstairs and offstage. Baker sets her play to the pace of real conversations, and the result\u2014clocking in at more than three hours, with two intermissions\u2014is funnier and more thrilling than you might imagine. John <\/em>is even longer than Baker\u2019s Pulitzer-winning play,\u00a0The Flick<\/em>, whose length and long silences had audiences walking out and canceling their subscriptions to Playwrights Horizons<\/a>. But watching\u00a0John <\/em>is far from boring: it\u2019s like eavesdropping on a bizarre conversation among strangers, one complete with supernatural suspicions, sexual insecurities, and a downright brilliant cameo appearance by Samantha, the American Girl doll. \u2014Rebecca Panovka<\/strong><\/p>\n

\"\"<\/a>

Where you make music in 2015.<\/p><\/div>\n

\u201cyour eyes \/ are like broken glass are \/ you unemployed?\u201d asks Peter Ackroyd\u2019s speaker in \u201camong school children,\u201d a poem from his 1987 collection,\u00a0The Diversions of Purley<\/a><\/em>. This question is answered in the second stanza\u2014with yet more questions, directed to the children of the title. \u201cRead the poem again, and think about \/ the last lines. Why was nobody smiling? \/ Try to explain in your own words how \/ the writer felt when he saw the girl \/ with eyes like broken glass.\u201d Ackroyd\u2019s poem is playfully self-reflexive; it ironizes the way we dissect texts in search of clear-cut, bite-size \u201cmessages.\u201d As Yeats wrote in the poem whose title Ackroyd borrows here, there is no way of neatly dividing one\u2019s lived (or reading) experience into constituent parts, \u201cinto the leaf, the blossom, or the bole.\u201d In the dense, lyrical, demanding poems that are comprised by\u00a0Diversions<\/em>, any such divisions come undone; boundaries of genre, typography, and authorial subject become blurred. Even the title of the collection contributes to this blurriness, shared as it is with the volumes of John Horne Tooke\u2019s late eighteenth- and early nineteenth-century philological treatise. But while a second edition of Tooke\u2019s Diversions of Purley<\/em> is selling on Amazon at $540, you can treat yourself to a first edition of Ackroyd\u2019s poems for a penny.\u00a0\u2014Chloe Currens<\/strong><\/p>\n

I\u2019d never read Marilynne Robinson, but I\u2019d come to closely associate her with mothers. My own mother claims Gilead <\/em>is her favorite book, and my stepmom owns hardcover copies of all three of Robinson\u2019s novels. So when I recently found Housekeeping<\/a> <\/em>on my aunt\u2019s bookshelf, I decided that if most of the mothers in my life loved Robinson, I should try to love her, too. I was surprised to find that Housekeeping<\/em>, with its focus on two orphaned sisters, is all about the absence of mothers; the narrator, Ruth, distorts memories by blending the observations of youth with revelations that can only come with age. The result is rich in imagery and imagination and, at the same time, soothingly meditative: a book about the search for comfort and stability in unstable circumstances.\u00a0\u2014Jane Robbins Mize<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

I finally got my hands on a copy of\u00a0Spacesuits, an illustrated history of the protective clothing worn by space explorers, from the earliest designs in the 1930s to the universally recognizable suits worn during the Apollo missions. The book, with its clinically detailed photographs and methodical descriptions of suits, helmets, gloves, and boots, is surprisingly […]<\/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":[8020,12627,18912,18914,18913,18915,8622,2631,459,18911],"class_list":["post-88199","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-annie-baker","tag-buses","tag-dubravka-ugresic","tag-juiceboxxx","tag-leon-neyfakh","tag-magnus-mills","tag-marilynne-robinson","tag-peter-ackroyd","tag-smithsonian","tag-spacesuits"],"acf":[],"yoast_head":"\nStaff Picks: Buses, Basements, Boots, Bed-and-Breakfasts by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 24, 2015 \u2013 I finally got my hands on a copy of\u00a0Spacesuits, an illustrated history of the protective 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