Publishers Weekly

Nonfiction Reviews

FEBRUARY 2, 2026 PUBLISHERS WEEKLY 101

( Remember to Dream! ) traces his path from ambitious youth to artistic director of London’s Serpentine Gallery, with cameos from numerous contemporary artists along the way. After nearly dying in a car accident at age six, Obrist spent weeks in the hospital that “instilled a sense of urgency in me.” In his teens and 20s, he requested studio visits with nearly any artist he admired, including Swiss giants Peter Fischli and David Weiss, as well as H.R. Giger. The account evolves from a handbook for aspiring art-world practitioners to a meditation on the collaborative

episode in the Harlem River Tunnel. Equally fascinating is Naiden’s account of labor activism within the subway system: a staunch union sup- porter who served as shop steward, he details the hard-won, sometimes violent history of organizing for worker safety. After one too many close calls, Naiden retired before qualifying for a pension, his relief sharpened by memories of colleagues injured or responsible for others’ injuries on the job. Blending memoir with institutional history, this fast-paced, edifying account elicits fresh appreciation for the workers who keep New York City moving. It’s a ride worth taking. (Apr.) The Playful Way: Creativity, Connection, and Joy Through Everyday Moments of Play Piera Gelardi. HarperOne, $26.99 (208p) ISBN 978-0-06-341669-7 A playful attitude can boost creativity, health, and happiness, according to this upbeat outing from Gelardi ( Style Stalking ), cofounder of Refinery 29. She argues that while adults tend to believe play is “frivo- lous” or incompatible with success, it actually strengthens pliability and adaptability in ways that improve problem-solving, boost fulfillment, and foster connection. She explores how a robust imagination can expand one’s sense of possibility by creating “neural pathways that prepare us for new experiences,” while creative expression can “transform our relationship with the unknown and the feared” or facilitate connection during dark moments. Recalling how a night spent singing karaoke became a surprising outlet for her grief over a recent miscarriage, Gelardi observes that play “doesn’t always mean joy or laughter; sometimes it means creative engagement with our grief, a way to befriend it rather than hide from it.” Vivid personal anecdotes and tools for incorporating creativity into one’s day-to-day buttress Gelardi’s argument, and her spunky tone is infectious. The result is a welcome reminder to color outside the lines. (Apr.)

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relationship between artist and curator when it covers Obrist’s

early curatorial experiences; French installation artist Annette Messager memorably advised Obrist to sleep with a stuffed bird beneath a mosquito net as part of his first solo exhibition. Though details of Obrist’s personal life are scarce, he writes persuasively of his passion for connecting to the world through art and his desire to enable others to do the same. (After a London cab driver told him that museums aren’t “for the likes of us,” he planned a series of street exhibitions.) Readers will be inspired. (Apr.) Railroaded: A Motorman’s Story of the New York City Subway Fred S. Naiden. Rutgers Univ., $27.95 (286p) ISBN 978-1-9788-4409-4 Naiden, a historian and former MTA motorman, debuts with an endearing memoir of his time at the helm of New York City’s subway trains. After slogging through an entry-level job at McDonald’s and a gig selling bras on Orchard Street in 1980s Manhattan, a young Naiden sought more stable employment with the MTA to support himself and his wife. He first worked as a porter, perform- ing custodial duties throughout the subway system, before being promoted to train operator. The most exciting passages chronicle the hazards of the job: blown fuses, failing headlights, and perilous emer- gency repairs, including a harrowing

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