Electra to the Rescue: Saving a Steamship and the Story of Shelburne Museum Book

Unique and enjoyable, this book is a survey of the contemporary DIY (do-it-yourself) movement in America (with some global threads), all at once a history, reference book, and how-to manual.

In 10 chapters, Reighley cuts a wide swath through sub-sub-cultures including backyard farming, handcrafting, fashion, taxidermy, and circuses.

He's is at his best when either describing the "how" in such subcultures (How to grow a handlebar mustache? How to raise chickens? How to make pickles?), or delving deep into such topics as "Americana" music, old-fashioned drinking, and handmade crafts--home-run stuff, here, freshly told and full of information.

At other times (in the middle chapters, particularly) the book verges towards merchandise catalogue--bespoke suits, selvage jeans, handmade shoes, bowler hats. Occasional editing problems also distract: for instance three introductions, in proximity, of Michael Williams blog A Continuous Lean. Perhaps the biggest error is the lack of an index, which to be fair only points out the utility of this "field guide." One really will want to look things up!

An example from p. 182 demonstrates why the few flaws are forgettable: Writes Reighley with typical humor and depth: "Taxidermy--from the Greek _taxis_ (arrangement) and _derma_ (skin) is a little more complicated than making a sock monkey, although in the early days, the techniques were more similar than one might imagine." On nearly every page are such absorbing and informative nuggets. (Speaking of: How to pan for gold? It's in there.)

The book is full of gorgeous illustrations by Aaron Bagley and informative sidebars (What's a Velocipede? What are spats? What is a Daguerreotype?). Mini-chapters explain some things in more depth: how to shop vintage; what are Root bitters; how to join the circus; the differences between knitting and crocheting.

The book itself is like Harry Smith's Anthology of American Music, a cabinet of curiosities (both topics covered), or a Joseph Cornell box: a slice in time and context that one can examine again and again, always finding something new and fascinating.

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WHY I READ THIS BOOK: The author is my neighbor and colleague, someone I've booked to read and moderate literary programs over the years, as well as listened to on the radio and brainstormed various art projects with. If there is a person to write about so many D.I.Y. topics, it is Kurt. Not only does he know first-hand most of this subject matter, he is an indefatigable researcher, scrupulous for detail and facts. He also has a an awesomely wide range of interests, a keen intellect, and a dry wit--and when I heard that all of these things would be woven together in a book, I couldn't wait to read it.