I’m still trying to figure out where I fit in the world, reconceptualizing my career and the way I spend my time. Naturally, I’m turning to books, but I’ve also been slowing down, paying attention to moments and returning to old favorites. Recently, that brought me to The Bicycle Book by Bella Bathurst, but I didn’t realize what I needed most about that book until a visit to the Ai, Rebel show at the Seattle Art Museum yesterday, and now I can’t stop thinking about all the ways connecting to the tangible is the best healing and the best path forward I have.
The Bicycle Book by Bella Bathurst
I first fell in love with Bathurst’s writing when I read an excerpt of The Lighthouse Stevensons, and I bought The Bicycle Book because I love the way Bathurst allows her curiosity to guide her exploration of whatever she’s writing about. And because I dream of fixing up my mom’s old Gitane someday and riding down to the park with the wind in my hair. It’s a project I started last summer, but I stalled at the “I really want to repaint this, but to repaint if I have to take it apart… and then what?” stage. The bicycle is functional, but not as beautiful as when my mom rode it around Seattle before I was born or when my dad had his and my bikes repainted in high school in any color I wanted. Aqua is the color of a father’s love.
Much to my delight, The Bicycle Book starts with Bathurst working with a craftsman to build her own bike from steel. I’ve always wanted to weld, so my envy was pure, but also there was so much to be learned (for writer and reader) in this process of hands-on creation. I loved that section of the book most, although I spent most of the next week telling my husband fun facts about everything from the various subcultures of bike messenger in cities across England to how bicycles democratized transit in most of the world (and how England lost out).
Ai Weiwei Makes Tangible

No segue here because the book faded from my mind for a few weeks until I saw at the SAM show what Ai had done with bicycles. In the picture above, you’ll see the pile of dismantled and cut apart bicycle parts that lines a whole wall in the museum. Below is “Forever Bicycles,” a structure built from the most common type of bicycle in China (the pile of parts is in the background here).

The type of bicycle is important because bicycles were also a democratizing element in China, giving people the power to travel farther distances. There’s a more complicated message involving China’s recent history, but I got sucked into the way Ai is playing with the bicycle as material—both as a material object and the materiality of its component parts.
As a recovering sculptor, I was obsessed.
I held that feeling of the delight of play with me until I walked into the next room of the exhibit—a room whose ceiling is filled with a snake made of backpacks. “Snake Ceiling” seems playful, but it is also deadly serious, recalling the thousands of children who died in substandardly built schools during the 2008 earthquake. It was then that I felt a deep kinship with Ai Weiwei. You see, I am filled with generative energy. Using that to build, make, or create things is the best contribution I have to the world. It also keeps me sane. I once created a painting pierced with thousands of french knots representing the people who died of AIDS in Africa in because I wanted to feel each life for a moment.
While there are interesting things he does (including a wall-size depiction of the Mueller report in Lego overseen by a marble surveillance camera), the pieces in the show I returned to were the ones where I could feel the tangibility of material objects.

For instance, the stack of stools above was endlessly fascinating to me. I loved the way they all looked the same, but they aren’t. You can see from the supporting structure between the legs of each stool that some carpenters used a triangle and others used a key. One even created something that looks like a star (see below). The gentle differences in each of these handmade objects spoke to me and I could imagine the satisfaction of running my hands over the wood in building one. My dad was a carpenter a long time ago and I wonder if I inherited this love of making from him or if connecting with tangible objects is something all humans need.

I took that feeling of tangibility with me on the rest of the field trip (it was the last Friday date my husband and I will have alone for awhile because school lets out next week) as we walked into Pike Place Market. There, the bricks in the street are being relaid.

We didn’t get to see any workers, but I thought about the people behind these processes. It could be such a monotonous job, but I hope they find pleasure in building something that is so foundational, just as I felt pride this week when I was able to help my husband mud the drywall in the artist studio he’s building out back. I am not good at it, but I can imagine what it would feel like to do the same thing over and over with my hands until my work is nearly invisible.
The last stop on our field trip was to visit a friend who had made—with her hands—a pair of glasses for me.
The Changing World
I won’t go into politics, because what even can I say, but the world is changing around us in a lot of ways. In my neighborhood, that means that many old homes are being torn down. It’s a good thing because we need the density, but it’s jarring because I’ve lived here for nearly 28 years. On our way home from the bus we walked past this house with the telltale temporary electric pole out front:

You can see the roof is in poor repair, something that was true for at least the last couple of years. And we wondered about the people who’d lived there, likely for a long time, and if they’d gotten priced out because it’s expensive even to have repairs done here. I won’t remember this house forever, just as I have forgotten many of the houses nearby that have been torn down in the past few years. And the change is long overdue (which makes it harder because it’s happening all at once). But it reminded me of these bricks from the Ai Weiwei exhibit:

The bricks are from old (probably ancient) homes in a hutong, the old-style alleys in Chinese cities. I’ve been to the Beijing hutong and the layers of history felt special. I can also imagine that the space could be more efficiently used, if efficiency is the goal. What I loved about this piece is the commemoration of the material, and through that, the home that once stood and the lives lived therein.
Maybe it’s because I work in digital marketing, maybe it’s because I’m a little lost right now, but these reminders of the pleasures of engaging with the material world feel deeply important. Having just wrapped the best version of my novel, Naked Driving to the Witches’ Graveyard, that I can complete on my own, it’s a great time to find new things to do with my generative energy. To figure out what I want to change and how to commemorate what once was.
If you’re interested in exploring your relationship with the tangible, I recommend The Bicycle Book and Ingrained: two books that touch on what it is to make something with your own hands. Buy them from Bookshop.org and I get a commission.
Maybe I’m always thinking about silence. That’s part of the reason why I put Aflame on my Christmas, birthday, and Mother’s Day wish lists. Of course I love
I have also
I can’t remember if I bought Getting to Yes because I wanted to be better at salary negotiations or if I happened into it at a Little Free Library, but it called to me from the to-read shelf this week. It’s a simple book and effective in it’s framing. The writers even say at the end that the reader probably knows a lot of the things in the book instinctively, even if they haven’t put organized thought into it. I did learn a lot about my own tendencies with positional bargaining and how empathy may have saved me from the holes I dug with that over the years. What was most fascinating, though, was the “What If They Use Dirty Tricks?” chapter, which basically lays out all the ways someone could be negotiating with you in bad faith (and what to do about it).
Speaking of Booker and his 25-hour speech (of which I watched both too much and not enough), there has never been a better time to speak up than now. I think that’s why I’ve kept Small Things Like These beside me all these weeks. It’s a quiet story about one man’s simple life in an Irish town and how he discovers something horribly wrong that everyone seems to know about but no one is questioning. And no one wants him to question, either.
There are many, many reasons to love Babel by R.F. Kuang, from the rich characters to the well-drawn action, but what hit me most about this book as I was reading it this fall was the way she turns history inside out by simply naming the things that were happening from an angle we are unused to. While to my knowledge there was not really a group of translators changing the world in the 19th century by inscribing spells into bars of silver (though it made for a great way to explore the power of language), she has a beautiful way of calling out the everyday assaults of empire:
Nick Troiano is also of the opinion that the system is broken. In The Primary Solution he lays out a strong argument for how our current system of primaries disenfranchises voters and contributes to dysfunction at the party level and at the governing level because of the polarizing list of candidates it allows to move forward.
I think we can all agree that World War II was some of the worst of what the world experienced during the last century. In my typical, “let’s read about the darkest thing we can find to see how people survive it” way, I was glad to read the forthcoming collection Poet in the New World: Poems, 1946-1953 by Czesław Miłosz and translated and edited by Robert Hass and David Frick. While I’ve enjoyed Miłosz in translation before (and structured
I wish I could give A Tale Dark and Grimm ten stars instead of five in Goodreads. This book is deliciously dark in a way that left my nine-year-old begging for more. He felt in control and in on the action and like he was tormenting me, but together we were exploring the edges of the dark and how we could navigate it together. Are coping mechanisms hereditary? It reminded me a lot of the day in March 2020 that my then four-year-old came home and told us about the virus. His teacher (herself a survivor of war in Afghanistan) had shown the children a video explaining what we knew then. And my son, having finally been let in on what the whispers of the last month were about, exuded so much confidence. That’s not to say that the months and years to come were always easy (ha!) or that we told him everything, but that we were all better prepared because we were prepared to treat him like a person with fears and ideas of his own. 
The Suicide Museum is billed as a novel, not a memoir, although many of the life events happened to Dorfman and the people who surround him in the novel are the real people of his life (or at least versions of them). I love that he chose this conceit, because it freed me to be sucked into the narrative rather than fact-checking the book in my mind as I went. It was also an important framing because what the Dorfman of the narrative is tasked with is finding the truth about the death of Allende.
