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Parson looks every few pages into this father-son book club, using Homer’s characters as an excuse for free association. “Paul says to the person on the phone that ‘The Odyssey’ is almost like Scripture, a kind of theology, but he adds that ultimately it doesn’t have the resonance and strangeness of the Hebrew Bible.”
At the beginning of “Everyday Life,” Lazar is sitting on the couch and she is in the kitchen, only partially able to hear their conversation because “it’s a harsh August day and the air conditioning is on full blast.” As a framing element, Parson frequently cites Lazar, who spent the pandemic reading Homer’s “Odyssey” and discussing the epic poem on the phone with the couple’s son. The Choreography of Everyday Life is a slim volume on Parsons’ creative process, circling her career highlights rather than linearly telling how, for example, she taught an aging ’80s music icon how to dance. Along with her husband Paul Lazar, Parson creates works related to other art forms: performance art about composers, plays about stories by Anton Chekhov, modern dances about ballet. If you’ve heard of Parson, it’s probably because of her collaboration with musician David Byrne: the Tony Award-winning Broadway show American Utopia, which streamed on HBO in 2020.įor artistic insiders, however, Parson is a co-founder of Big Dance Theater, a cross-genre ensemble that has worked with the likes of Mikhail Baryshnikov and the music group Bang on a Can. The Choreography of Everyday Life is Parsons’ third book and is worth reading for its astute grammatical observations, among other wise non-sequiturs. “And while prepositions are useful for placement, ultimately they don’t have the power, the speed, of a verb.” “Verbs are dancers of grammar,” she writes in her new memoirs about the intersection of art and life. On this point, choreographer Annie-B Parson would agree.
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