Realistic Records, the record label that Derek and I run out of the crawl space beneath his apartment, has a new cd out! It’s the cd version (featuring 3 new songs) of the Recoys record that we put out last summer. So, if you are into the Walkmen and are digging their new album, Bows & Arrows, check out the Recoys, Ham and Pete of the Walkmen’s old band.
Interesting article in the Chicago Tribune (reg. req.) that answers the question, "How did Roddy Doyle write a novel -- well, half a novel -- about Chicago from 3,700 miles away?" The novel in question is Oh, Play That Thing. Here's part of the answer:Originally, when he prepared to write the novel, Doyle considered moving to Chicago for a year with his family, but that didn't work out. (For one thing, his three children, ages 6 to 13, didn't want to leave their friends.) So he relied on key Chicagoans and several shelf-loads of books for insights into the city. I'm always impressed when a novelist can present a place and time as though he or she had been there.
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A Salon.com piece from last week is creating a buzz among publishing industry watchers. In it, an anonymous "midlist" author bemoans the consolidation of publishing companies and the ever shallower tastes of the reading public for contributing to the demise of authors who don't write blockbusters. Almost taunting the reader, she drops clues throughout the article, tempting diligent gossips to discover her true identity. (Were she outed, I suspect she wouldn't mind the publicity.) First, here is the article. (Use the day pass to view the article... you just have to watch an ad first). As soon as the article was published, the gossip erupted at, where else, gawker.com. Here the speculation begins, readers begin jumping into the fray, and, finally, Gawker, wanting to put the subject to rest, guesses: Amy Bloom. As they freely admit, though, Bloom is not a perfect fit, and I'm not convinced either. I'm on the case, though. Maybe I can figure it out. As far as whether or not I agree with her: I agree that publishing industry consolidation makes for a dull literary marketplace, but I refuse to believe that quality writing, no matter how uncommercial, is unsellable. The American people are not as dumb as some like to think, but I'll tell you one thing, they don't like whiners. Possibly more on this later.A PunditI always enjoy hearing from people who have been willing to publicly change their opinions on things. Somehow I find them more believable than the one note folks who populate the right and the left. This is why I like reading Christopher Hitchens. He is incredibly prolific, putting out what seems like a book a year and appearing almost daily in newspapers articulately presenting his singular points of view. As an example, check out his review in Canada's Globe and Mail of the new book by Ian Baruma (another frequently-published commentator whose writing I enjoy).
The Rake is underwhelmed by a Lily Tuck reading, but nonetheless manages to put together a characteristically amusing recap of the event. Now that's dedication.Ed visits used bookstore run by the cranky and paranoid and lives to tell the tale.CAAF on good vs. bad protagonists.McSweeney's fans: I couldn't help but notice that Amazon is shilling issue #14 for the low, low price of 6 bucks. Get 'em while they're hot.
New Millions contributor Noah, who recently wrote a review of Richard Ford's The Lay of the Land and helped answer a question (see the comments) about where to start when reading Ford's books, managed to get a question in at yesterday's Washington Post online chat with Ford. The question elicited a fairly long response from Ford, one that name drops a pair of his more well-know contemporaries. I'm quite certain that Noah is from Brooklyn but for some reason, the Post indicated his question was coming from Queens:Queens, NY: At a Barnes and Noble reading in NYC, you said, almost inaudibly because someone was mad to ask another question of you, that one of your personal favorite pieces of your own was "Communist", the last story in Rock Springs. Can you talk just a little about that story, what it means to you? Do you ever feel that Bascombe-mania overpowers your other work, like the dog that is most aggressive in pursuing the owner's attentions?Richard Ford: I don't feel like these Bascombe books overpower my other work, because they are so different from other work that I have done, and I actually value them all pretty much equally. I probably couldn't write a book or a story without thinking at the time, This is the best thing I could possibly do."Communist" I feel a lot of affection for, for several different reasons. One is its origin: that my friend Tom McGuane once asked me while we were hunting if I had ever written a hunting story. I told him I had never written a hunting story because I didn't like to read them. And he said, If I would write a hunting story, he knew some guy that was doing an anthology that would probably publish it. And so I wrote a hunting story. And from that innocent little inception came a story that was much more than a hunting story. I sort of like the humbleness of the origin. And I liked the story because it let me describe something, which is something I never do, it let me describe something I specifically experienced rather than just made up, which is an enormous number of geese taking flight, which I found was a very stirring experience both to have and to write. Two other things: I was moved by the opportunity to write the final conversation at the end of the story between the narrator and his mother, which I thought was quite an intimate relationship but that maintains the proprieties of parent and child. Finally, when I wrote the story, which was in 1983 in Mississippi, far from Montana, where the story is set, I wrote the story to an end which didn't feel like the right end although it felt like an end. And I showed the story to my friend Joyce Carol Oates, and she gave me the best advice any other writer has ever given me. She said, Richard, you need to write more on this story. Write more words. And I had to figure out what more words to write.
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Among the few movies I've seen in recent months, Sideways was one of the best. The director, Alexander Payne, has made a career out of bringing quirky, character driven novels to the screen. This time, the source material was a novel by the unknown and struggling Rex Pickett. According to this article from the Guardian, Rejected by 15 publishers, Sideways was still without a home when Payne happened to read the manuscript and liked it. Even with the possibility of a movie in the works, Pickett had to work hard to get it published. St Martin's initial reluctance turned out to be quite lucrative:Then, finally, a publisher bit. "A lot of people think the book was only sold because it got made into a movie," Pickett says. "That's not true. It was bought when there was no guarantee it was going to be a movie. So that rankles me a little bit." Apart from anything else, the film's uncertain status meant that the book deal wasn't worth much money up front. "St Martin's Press paid me almost nothing. But that did mean my advance, what little it was, was earned out very quickly. Now I get a dollar for every copy sold!" He still sounds slightly giddy at the thought.I haven't read this book, and I've heard that it's just so-so, but I love the Rex Pickett rags to riches story.
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