{"id":91711,"date":"2015-11-06T16:27:45","date_gmt":"2015-11-06T21:27:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91711"},"modified":"2016-04-03T18:15:12","modified_gmt":"2016-04-03T22:15:12","slug":"staff-picks-wood-on-the-fire-wood-on-the-flume","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/06\/staff-picks-wood-on-the-fire-wood-on-the-flume\/","title":{"rendered":"Staff Picks: Wood on the Fire, Wood on the Flume"},"content":{"rendered":"
\"\"<\/a>

Slava Korotki in his handmade boat on the Barents Sea. Photo: Evgenia Arbugaeva, via The Guardian<\/i><\/p><\/div>\n

The banker and poet Samuel Rogers (1763\u20131855) spent his life at the center of political and literary London. He knew everyone (both Wordsworth and Tennyson borrowed his court suit for royal occasions), and like the Brothers Goncourt\u2014or a Regency Renata Adler\u2014he had a nightly habit of writing up his dinner conversations. As Christopher Ricks observes in a preface to Rogers\u2019s Table-Talk & Recollections<\/a><\/em>, Rogers loved to repeat other people\u2019s gossip. But he loved to record their quirks and sayings, too. Of the Whig leader Charles James Fox, for example: \u201cVery candid\u2014Retracts instantly\u2014continually putting wood on the fire.\u201d \u201cHe loves children.\u201d \u201cJosephine a very pleasing woman.\u201d Most interesting for me are the private literary opinions of Rogers\u2019s powerful friends, who talk about Milton, Pope, and the classics very much in the tone of late-night Dylanologists two centuries later, and at the same passionate level of detail. \u2014Lorin Stein<\/strong><\/p>\n

While this may be remembered as the week\u00a0virtual reality went mainstream<\/a>, I found myself absorbed in a more time-tested medium\u2014a portfolio of photographs, \u201cWeather Man<\/a>,\u201d\u00a0by Evgenia Arbugaeva. Arbugaeva, who grew up in the Russian Arctic, spent several weeks visiting a remote meteorological station in\u00a0Khodovarikha<\/a>, one in which data on wind speed, precipitation, visibility, water levels, and the like are still measured and recorded by hand\u2014by Vyacheslav \u201cSlava\u201d Korotki, the station\u2019s resident meteorologist. Slava lives and works in isolation, in a station built in, and by all measures still reminiscent of, 1933. Says Arbugaeva (and so her photos attest): \u201cHe doesn\u2019t have a sense of self the way most people do. It\u2019s as if he were the wind, or the weather itself.\u201d \u2014Stephen Hiltner\u00a0<\/strong><\/p>\n

\"\"<\/a>

Kennywood\u2019s Log Jammer: innocent fun or senseless testament to exploitative timber practices?<\/p><\/div>\n

I seem to mention<\/a> something from<\/a> Cabinet<\/em>\u00a0in this space\u00a0whenever they publish a new issue\u2014but to hell with it, read Adam Morris\u2019s essay \u201cTimber!\u201d, from their latest<\/a>. It\u2019s about those pervasive log-flume rides (e.g. Disneyland\u2019s Splash Mountain<\/a>, Six Flags\u2019s\u00a0El Aserradero<\/a>, Kennywood\u2019s Log Jammer<\/a>) and Arrow Dynamics, the company that brought them to market in the fifties. The flume ride memorializes a dismal chapter in American history: the frenzy of unsustainable logging that overtook the Sierras at the end of the nineteenth century. To reduce labor costs, loggers built elaborate flumes, often many miles long, and floated lumber down the mountainside<\/a>. These were dangerous conveyances\u2014they jammed easily, and plenty of \u201cherders\u201d lost their lives either maintaining them or using them for joyrides. In other words, they\u2019re just the thing you\u2019d want to base a water ride on. The more you think about theme parks, the more twisted they become; and how strange it is, in these climatically aware times, to imagine everyone standing in line, waiting to pack themselves into synthetic logs so they, too, can feel the thrill of an exploited natural resource. Morris\u2019s piece is rich in cognitive dissonance: it\u2019s a pungent study of American hubris. \u2014Dan Piepenbring<\/strong><\/p>\n

David Ulin\u2019s Sidewalking: Coming to Terms with Los Angeles<\/em><\/a> is an urban diary of sorts, considering landscape, community, and architecture from the vantage point of LA\u2019s seldom-trafficked sidewalks. Looking at the bipolar tensions of retail-tainment spaces\u2014those pedestrian walking malls so popular in the Southwest\u2014Ulin ponders how we might make such places our own despite the Disneyfied, scripted experiences they offer. He\u2019s interested in \u201chow (or even whether) great civic space is created, if it can be invented whole cloth or if it needs to evolve.\u201d LA is the youngest of our great American cities. When William Mulholland said of his city, \u201cThere it is. Take it,\u201d he was alluding to its unwritten past, and the raw potential therein. We don\u2019t often see LA paired with words like community<\/em> or neighborhood<\/em>\u2014it\u2019s usually held up as a kind of cultural bleach\u2014but Ulin, an outsider to the city, is skeptical of those who dismiss it. Sidewalking <\/em>is not so much an apologia as a meditation, one that seeks to understand the city on its own terms. \u2014Jeffery Gleaves
<\/strong><\/p>\n

\"\"<\/a>

From Hyde Park News<\/i>.<\/p><\/div>\n

Cleaning out my grandparents\u2019 attic recently, I unearthed three generations of family newspapers: by my grandmother and her siblings, my mother and her sisters, and me and my brother. So it was with a strange tinge of recognition that I happened upon Hyde Park Gate News: The Stephen Family Newspaper<\/a><\/em>, a collection of juvenilia from Virginia Woolf, her sister Vanessa Bell, and her brother Thoby. To be honest, none of my family\u2019s papers have the same flashes of brilliance and wit that illuminate these, in which \u201claughter,\u201d as Hermione Lee writes in the foreword, \u201cpreferably her mother Julia\u2019s laughter, is always being tried for.\u201d Virginia was particularly hungry for her parents\u2019 attention and praise. A Stephen family childhood, in a household of siblings, half-siblings, parents, governesses, and servants, was full of light and shadow, \u201ctangled and matted with emotion,\u201d Woolf recalls. The Stephen family newspaper abruptly ceased publication about three weeks before Julia\u2019s death in 1895, a trauma that reverberated through Virginia\u2019s life. With its copious photographs and facsimile pages, including charming drawings by the Stephen siblings\u2014of Leslie Stephen seated in his armchair, of a black cat arching its back\u2014Hyde Park Gate News<\/em> is entertaining for scholars and casual readers alike. \u2014Hannah LeClair<\/strong><\/p>\n

In Changing the Subject<\/a><\/em>, Sven Birkerts bemoans the influence of technology, which promises to solve the problems it creates. In a series of meandering essays, Birkerts explores the imprint of the information age and its choice media (\u201ctechnoglut\u201d) on consciousness, inwardness, and imagination. His portentous conclusion: \u201cThey\u2019re on the fritz.\u201d We have never been more connected, never lonelier, and never more regulated and imaginatively impassive. So many \u201cdeeper sources and possibilities of being\u201d are thinned out by the digital age\u2014serendipity, error, idleness, contemplation, daydreaming, and inwardness are replaced by flashy promises. As Birkerts sees it, salvation lies in making and appreciating art forms that demand unalloyed attention. \u201cTo achieve deep focus nowadays is to strike a blow against the dissipation of self,\u201d he writes: \u201cit is a way of strengthening one\u2019s essential position.\u201d \u2014Joshua Maserow<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The banker and poet Samuel Rogers (1763\u20131855) spent his life at the center of political and literary London. He knew everyone (both Wordsworth and Tennyson borrowed his court suit for royal occasions), and like the Brothers Goncourt\u2014or a Regency Renata Adler\u2014he had a nightly habit of writing up his dinner conversations. As Christopher Ricks observes […]<\/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":[20132,15577,1127,20131,10017,20130,883,3733,969],"class_list":["post-91711","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-adam-morris","tag-cabinet","tag-david-ulin","tag-evgenia-arbugaeva","tag-hermione-lee","tag-samuel-rogers","tag-staff-picks","tag-sven-birkerts","tag-virginia-woolf"],"acf":[],"yoast_head":"\nStaff Picks: Wood on the Fire, Wood on the Flume by The Paris Review<\/title>\n<meta name=\"description\" content=\"November 6, 2015 \u2013 The banker and poet Samuel Rogers (1763\u20131855) spent his life at the center of political and literary London. 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