I’m hearing from reliable sources that Bunker 13 by Aniruddha Bahal is a wild thriller with an ending that is not to be believed. It takes place at the India / Pakistan border in the disputed region of Kahmir, so it also includes a good dose of the wider world for folks who are into that sort of thing. Also, Gary Shteyngart, author of The Russian Debutante’s Handbook, stopped in today and as he was signing his book, he mentioned that he will spend the next few months writing his sophomore effort in Italy. It is tentatively titled Absurdistan. Sounds interesting…. First took notice of Shteyngart in the New Yorker (he has contributed fiction and essays), and his book was very well recieved. He also has a great author photo, which I unfortunately can’t find on the web anywhere.
WHEREAS… It is a cliché of the creative writing workshop to discourage a writer’s use of cliché; and It is a cliché of the creative writing workshop to say that clichés are too familiar and therefore ineffective; and The first time we heard this cliché against clichés it was a revelation, but with each successive repetition the cliché against clichés became increasingly faded and opaque, i.e., clichéd: a comforting logical fabric (“I’ll say the thing about clichés!”) to throw over a gap where uncertainty lay; a stand-in for new and difficult thinking because you’d have to remember all the way back to the first time you heard this cliché against clichés to actually see, once again, that clichés are ineffective because they prevent you from seeing; but also an efficient shorthand, one soothing for its familiarity, and in its familiarity suggestive of rightness, and in its rightness suggestive of belonging: to the community of those who’ve been through writing workshops and so have been inducted into the Army Against Clichés, which is also an Army Against Genre Fiction and Commercial Fiction and Popular Nonfiction, all of which are what they are (beloved, commercially viable, popular) because they return dependably to clichés of storytelling invented and real; and which may itself be an Army Against the Teeming Masses, who buy mass-produced books for the soothingly familiar stories inside; and which is therefore an Army of Elitism, reproducing clichés of class; but which may also be an Army Against Itself; and WHEREAS… Every word of our language is a cliché, so familiar as to be efficiently, effortlessly understood; and We cling to these clichés (of language, of description, of workshop) for their ease and also for their familiarity, which suggests rightness, which suggests belonging; and Cliché, here, may refer to a bevy of workshop clichés, including: clichés of praise (this is effective, is working, is strong, great, fantastic, amazing, well done), which stand in for consideration of what these terms mean; clichés of condescension (this isn’t working, is ineffective, weak, less well-done), which cover over uncertainty about what these terms mean; clichés of response and suggestion (too heavy-handed, sentimental, familiar; more subtle, restrained, fresh), which assume there is a single aesthetic community to which we all belong; and other such meaningless pandering and avoidance of considerate thought, tics that are contagious because we reach for agreement because we reach for belonging because the truth that there is no rightness is so damn maddening; THEREFORE, BE IT RESOLVED… That we will use the cliché against clichés against itself, at once ratifying and refusing its meaning: abstaining, in our conversations about new writing, from using workshop shorthand, i.e., from not thinking; abstaining from agreeing with each other too much, i.e., from group-think; granting that, in the process, we will create new clichés; and trusting that we will question and thereby destabilize these clichés along the way. Image Credit: Flickr/Tom Newby Photography.
On Feb. 9th, the documentary Operation Homecoming: Writing the War in Iraq went into limited release across the U.S. The movie follows the National Endowment of the Art's (NEA) program to help soldiers returning from Iraq and Afghanistan put their experience into words. Although the movie itself has gotten mixed reviews, the program has been considered a great success. After workshops across the nation led by the likes of Vietnam veteran and novelist Tobias Wolff and Tom Clancy, soldiers' writings were collected in an anthology Operation Homecoming: Iraq, Afghanistan, and the Home Front, in the Words of U.S. Troops and Their Families. The book includes short stories, poems, letters and essays, arranged by theme and, unlike the movie, has received a considerable number of accolades.Brian Turner, whose book Here, Bullet, a collection of poems on the war in Iraq, was reviewed here last week, was a participant in the workshop, and appears in the movie reading his poem "What Every Soldier Should Know." Although I haven't yet had the opportunity to see the movie or pick up a copy Operation Homecoming, I have in the past found great value in the first person accounts of World War II collected by Studs Terkel in his book The Good War, and especially in Haruya Cook's and Theodore Cook's Japan at War (an absolutely stunning accomplishment that is a must read for anyone interested in Japan's part in WWII.) The power of these accounts to educate and inform can't be overestimated and all indications are that Operation Homecoming will be an excellent resource for those interested in another perspective on the wars in Afghanistan and Iraq.More information on the Operation Homecoming Program is available through the NEA.Bonus Links: Operation Homecoming mentioned in the New Yorker "War Issue." And a list of World War II non-fiction compiled with help from readers of The Millions.
Susan is taking it all in. The stories are more than she had hoped for. She was discovering the tales that I had hidden from her, but disturbingly they were changing my own memories of those events. Uncle was changing what I remembered. In The Cousin, the latest novella from John Calabro, our narrator is a reluctant explorer, bringing his Canadian wife Susan with him to a Sicily shifted in his memories from his childhood. He's detached, reluctant, full of loathing for his Sicilian uncle, and haunted by past events. His wife is more enthusiastic, more engaged, connecting the reader with the setting, while our narrator goes from harboring some hang-ups to dealing with his demons. In the last act, The Cousin turns twisted and surreal, as the narrator takes the astonished reader on a mind-bending journey unlike anything I've read. The Cousin is one of a series of novellas released last fall by Quattro Books, a Toronto outfit which counts Calabro himself as a founding publisher, and which mandated itself to champion the Canadian literary novella. They've even come out with a manifesto outlining six rules that must apply to any novella that they publish. Some of the rules are structural: the qualifying novella must be between 15,000 and 42,000 words long and between 60 and 150 pages. Other rules deal with the time-frame covered within the story, the number of characters, locations, and as Quattro is championing Canadian literary novellas, the author must be Canadian and Canada must factor in the plot or setting or character. The most interesting rule is that there must be either a reversal of fortune or some kind of realization or revelation. From Quattro’s manifesto: It is a narrative that draws heavily on a geographical and cultural landscape, real or imagined, or on the concept of a journey, physical or metaphysical, to carry it. It must be of a form and content that excites and surprises while exploring the underbelly or fringe of civilization where savage instincts and/or extreme otherness lie hidden. These rules are reflected in other novellas released by Quattro last year. In A Pleasant Vertigo, Egidio Coccimiglio tells the story of Gerard, a New York-based artist longing to make a comeback, and suddenly being wooed by rival dealers. The writing style is fast and free-floating, culminating, in the second half, in a dark and comic set-piece along the shores of the Mississippi. Brenda Niskala's Of All The Ways To Die is an inventive ensemble ghost story. A missing girl is the catalyst for Urma to summon (actually invite to dinner) an eccentric group of departed souls, to help shed some light on the whereabouts of the girl, and on life itself. Throughout the dinner, we learn not only their stories, but their connections to Urma. The dinner, by the way, is pot-luck, and each guest shares with the reader a special recipe. Harbour View is Binnie Brennan's lovely and amusing story of a Halifax nursing home. Characters - the residents and workers of the home - bounce off each other, their stories revealed as we briefly see and hear the world through each of them. There's warmth to the wit. Here are Buddy's thoughts on assorted nursing home staff: Sam speaks softly, unlike Muriel and the others who are trained to speak so that the deaf may hear them. Sam's quiet is a relief, like the silence when an aircraft cuts out: you don't really notice the racket until it's over. The novella has always been a favorite literary form, and while writers have never stopped writing short forms of fiction, Quattro is to be commended for giving this literary form some formal shape and focus. And there's plenty of room within the structure for all sorts of tales to be told, and voices to be heard.
Mark at TEV has posted the first installment of his interview with John Banville, whose book The Sea has recently been shortlisted for the Booker Prize. This is the first of four installments that will appear weekly. Mark did a great job on this interview and I highly recommend it - it's interviews like this, thoughtful and unpretentious, that show the true promise of book blogs.
It has, once again, been a long time since I wrote to The Millions. My hiatus this time around was due to constant travels and lack of time to read. I managed, nevertheless, to read Fyodor Dostoevsky's Crime and Punishment as intended and began David Foster Wallace's Infinite Jest. I do not dare comment on Crime and Punishment, since it is merely my introduction to Russian literature and so many people and scholars have already done a much better job than I can ever hope to do. Let it suffice that I really enjoyed every word in Crime and Punishment and look forward to continuing my Russian Lit. education through both Dostoevsky - Brothers Karamazov, I think, will be next - and Tolstoy - I have War and Peace in mind, please tell me your suggestions - before I move onto others such as Pushkin and Chekhov - whose The Cherry Orchard and some other plays I have read. Next I picked up Infinite Jest with the naive hope that I could make serious headway into it in one month. I enjoyed the 150 pages that I managed to read in my month-long quest to devour Wallace's little monster. It was, I have to admit, very confusing and I constantly found myself in anticipation of stories that begun and were, in the mere 150 pages I read, not continued. The reason I stopped was not because of my growing frustration with the novel - as happened to a couple of my friends - but because I reported to the army to serve my mandatory military service. Infinite Jest is not quite the light read that I could manage in the barracks after a full day of marching and obeying orders barked at me, therefore I put it on hold. Thus far I have not managed to return to it.[See Also: Max's thoughts on Crime and Punishment]While in the army I picked up Turkey's bestseller Su Ciglin Turkler (Those Crazy Turks) by Turgut Ozakman. Ozakman studied both national and private archives related to the Turkish Independence War for over sixty years. About fifteen years ago the premise of his book and most of his research was complete and the novel in progress was turned into a movie script for a four-part TV series. I remember watching the series at a very young age and being very impressed by it. My father had read the newly published Su Ciglin Turkler during my parents' visit to New York in January and left the novel for me to read. I took the novel to the army, where only pre-approved books are allowed into the barracks and subversive writers are banned, and began reading it there. Ozakman's narrative is very simple and fluent. The story sticks to historic facts to the point of making Su Ciglin Turkler more of a history book than a novel. The author avoided writing a history book by narrating the individual lives and adventures of historic characters in fiction. The combination creates a very strong storyline that reflects the historic moments in Turkey's three year long struggle to freedom following World War I and touches a nerve in the reader by relating the greatly humane stories of unheard heroes and heroines. Su Ciglin Turkler makes its readers laugh and cry out loud at certain points, infuses a healthy dose of nationality that makes the reader long for the determination and unity exhibited in the birth of the Turkish Republic - as well as wonder why such stamina and selfless goodwill is missing from the scene today - and provides a great glimpse of the nation's foundations. Unfortunately, as with most Turkish novels I read, with the exception of Orhan Pamuk's novels, Su Ciglin Turkler is only available in Turkish. If you know the language or the novel is ever translated, I strongly recommend it. That was my army novel, and I admit the setting proved perfect.See also: Part 2, 3
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Millions contributor Kevin has an incisive review of Jon Meacham's popular new biography American Lion: Andrew Jackson in the White House in the New York Observer:It's during the White House years that Mr. Meacham's story takes hold. We see Andrew Jackson making the hard trip east from Tennessee to Washington where the political permanent class waits in judgment, wary of Jackson's frontier background and fearful of the source of his power. Jackson's landslide victory in 1828 marked the first time that a president was elevated entirely on the strength of popular support, and the Founders' low regard for the common intelligence still percolated through Washington.
The revelation of the so-called "Book of Judas" last week made for some good news stories. The newly discovered gospel claims that one of history's oldest bad guys wasn't so bad. It's a provocative story and there's an element of Indiana Jones to it all, as the lost text was found in Egypt and made its way to the public through years of intrigue and backchannel trading. Scholars, meanwhile, are already debating how relevant the document is. The New York Times article on the gospel gets into the scholarly debate somewhat, but an illuminating essay by David Kopel at the Volokh Conspiracy explains why the "Gospel of Judas" is not a lost book from the Bible, but rather a Gnostic text. But what interests me most are not the theological ramifications of the find, but how its public unveiling is tied to the release of so many books (and a movie).First of all, it's unlikely that this news would be of such interest were it not for the success of The Da Vinci Code, which has made once obscure Gnostic texts mainstream reads for fans of Dan Brown's book. It's also worth noting that The Da Vinci Code movie comes out soon, on May 19th, which is sure to keep early Christian mysticism in the news. But then there are the books themselves. National Geographic, which officially made the documents public, has two related books out now: The Gospel of Judas, which is an annotated translation of the original documents, and The Lost Gospel, which is about the discovery of the gospel and the research that went into deciphering it. The David Kopel essay cited above mentions an AP story in which James M. Robinson, a rival to the National Geographic scholars, explains why the find is probably not all that important. It turns out Robinson has his own book on the gospel coming out, too, The Secrets of Judas, which gives his view on the find.So, for something that was portrayed in the media as a stunning new find, this all seems to be very stage managed to me. The Gospel of Judas itself has been floating around since the 70s, but the three books (and the National Geographic TV special) all seem timed to hitch onto The Da Vinci Code's next wave of publicity as Dan Brown emerges from his court proceedings and his best seller hits the big screen.
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