I caught a few minutes of Fresh Air on NPR while I was out running a quick errand today. Terri Gross was interviewing David Denby, the New Yorker film critic who has a new book out. The book is called American Sucker and it is a memoir of the boom years. In 2000 Denby and his wife split, and he decided that he wanted to keep the Upper West Side apartment that had been their home for many years. In order to do this, Denby hatched a plan to buy out his wife’s share of the apartment. Lacking the funds to make the apartment his and cast adrift by the collapse of his marriage, Denby threw himself wholeheartedly into the mania of the stock market boom with the hopes that he, like so many others seemed to be doing, could hit it big. It would be the solution to all of his problems. A sort of addiction to his quest set in and American Sucker was the result. Today, Terri Gross, in her way, was trying to get him to relate his experience to some classic gambling films, Denby being a film critic and all. Denby, however, begged off and mentioned two interesting books that he feels are most analogous to the way he felt during his ordeal. Dostoevsky’s The Gambler and a somewhat forgotten Victorian classic by Anthony Trollope, The Way We Live Now, to Denby’s mind, best portray a sense of monetary desperation in the midst of a boom. I’m hoping that over the next few years there will be more books that look at the boom of the late nineties through a literary lens. It was a strange and fascinating time. Denby’s colleague at the New Yorker, James Surowiecki has penned a less personal book about business and money called The Wisdom of Crowds which is slated to come out at the end of May. A quick look reveals that Surowiecki has put together a readable tome meant to illustrate a principle that many economists hold dear: the idea that decisions can be made, problems can be solved, and the future can be predicted by the market. Imagine the Nasdaq but replace companies with possible outcomes. At the end of the day the outcome that is trading at the highest level is probably the correct answer to whatever problem was trying to be solved. Using markets you can, as Surowiecki terms it, unlock the “wisdom of crowds.” Last summer there was much public outcry when it was announced that one of our government agencies was considering setting a market that was meant to predict future terrorist attacks. The idea of people profiting off of this sort of speculation was abhorrent to many people and the plans were shelved, but, in The Wisdom of Crowds, Surowiecki will likely argue that the plan would have worked.
I’ve got an affinity for diagrams. I find the books of Edward Tufte fascinating, and my interest in such things extends even to the “infographics” contained in most newspapers. I like the idea of distilling something complex down to a visual representation.And what is more complex than Finnegans Wake, which was the subject of a dense and mysterious-looking diagram from the book Vision in Motion by Laszlo Moholy-Nagy. Richard Kostelanetz highlights the diagram in an essay about Moholy-Nagy, about whom he writes “Need it be said that no other modern artist wrote as well about literature?”Kostelanetz goes on to write “What Moholy established in Vision in Motion was a model of writing about all the arts as a single entity, to be called art, whose branches (literature, painting, etc.) were merely false conveniences conducive to specialization and isolation.” (via)This multi-discipline approach would seem to be of particular use in our multimedia world. It’s brings to mind another creative attempt to parse a complex work of literature via non-traditional means: the Pynchon wiki.
You’ve probably heard the news, Blockbuster is no more. Honestly, I was surprised by my reaction to it. Not sadness per se, just an empty feeling. I hadn’t been inside a Blockbuster in many years. But when that soothing NPR voice announced the final nail in the coffin, I lost a moment or two staring off into the middle distance, wrapped in some sad or perhaps pathetic moment of nostalgia. I worked at a Blockbuster all the way through high school in the mid-to-late 90s when VHS still ruled the world and going to the video store was a popular activity.
I remember when my family got our first VCR in the mid-1980s. The first time we entered the florescent-lit jungle of a video store, I was instantly enamored. I zeroed in on Pinocchio and my father picked up Cocoon, or at least something like Cocoon. The mere fact that these memories are still rattling around my head nearly 30 years later must have some significance, right?
A few years later, after my parents divorced and my mom and I were living on our own in a mid-century apartment building, she called in and won a radio giveaway providing a year’s worth of unlimited movie rentals at another now-defunct store. To put it simply, I was in heaven. That summer my attempts to catch up on the entire cinematic canon commenced. Two, three, sometimes four films a day. No sweat.
Eventually my mom remarried and we moved out south, past the Tulsa city limits to a rural land of sod farms and recreational tractor rides. When I was old enough to get a job more interesting than mowing yards, the choices were few but obvious. While my friends toiled away in the greasy haze of fast food restaurants, I would make it a Blockbuster night, every night. Not only did I get paid, I could take home movies every single day. For free.
Sam Peckinpah might not have recognized it, but in our own way we were a wild bunch, the most senior employees usually clocking in at a mere 18 or 19 years old. The time not spent straightening the shelves or restocking the candy racks usually involved things like sitting in the return bin, waiting for customers to walk up, and tossing their videos back out at them when they turned around. You might think such a stupid and juvenile act would get old after a while. It didn’t. These were the days when the Internet was new, cell phones were for stockbrokers, and if you missed a movie in the theater, you had to wait six months or even a year or more to catch up. We don’t have to wait for anything now. I’m not sure that’s an entirely good thing.
A few months ago while my wife and I were in Austin, Texas, we popped into a quirky spot called Vulcan Video that still sells and rents out VHS tapes to the hipster masses of the Lone Star State’s capitol city. Cue The Cranberries music. Bust out the Hypercolor shirts. I felt as if I’d literally stepped back into the 90s. And I loved it. No irony. No shame. I’m not entirely sure why some of us find comfort in obsolete technology and relics of the past. I love the modern world. I embrace technology. I honestly believe that the world of tomorrow will be better than today. But when something that’s been part of my life for a long time goes away, all I want to do is push Rewind.
Photo Credit: Flickr/yapsnaps
Book blog fans: you may want to point your browsers to Beatrix, a new blog at ArtsJournal by Ron Hogan, the proprietor of the well-know blog Beatrice. With this impressive bit of branding, Ron has really locked down the “women’s names that begin with Beatri-” market.