Yesterday was the centennial of the birth of Theodore Geisel, better known as Dr. Seuss. So if you can find the time, dig up your copy of The Lorax, Horton Hears a Who!, or Yertle the Turtle. They are guaranteed to make you smile.
In 1886, Anton Chekhov wrote a letter to his brother enumerating the following requirements for his own writing:Absence of lengthy verbiage of political-social-economic natureTotal objectivityTruth descriptions of persons and objectsExtreme brevityAudacity and originality; flee stereotypesCompassionI like to present this list at the start of any fiction writing class because it’s wonderful conversation fodder. Everyone has one they cherish (for me, it’s compassion), and one they revile (as my students recently pointed out to me: Can anyone every be totally objective? Isn’t the fleeing of stereotypes stereotypical?). After a discussion of this list, I have my students replace one or two of Chekhov’s rules with their own. Popular answers include: passion; avoidance of adverbs; write what you know; write what you don’t know; and humor. I always add “Bold use of metaphor” – whatever that means. If I were to revise Chekhov’s list, I’d take the “extreme” out of “extreme brevity.” Too wordy.Perhaps Chekhov hadn’t read Edgar Allan Poe’s famous 1842 review of Nathaniel Hawthorne’s Twice Told Tales, in which he advised, “Extreme brevity will degenerate into epigrammatism.” I have a feeling that Ernest Hemingway did catch this warning, though, for when he was challenged to write a story in six words, he took old Poe to task with this:”For sale: baby shoes, never used.”I love Hemingway’s story – how it attests to the power of implication! For a long time, I thought it very sad, until author Antoine Wilson schooled me otherwise. Now I appreciate it even more.As pointed out on this blog a few days ago, Smith, the online magazine devoted to storytelling and personal narratives, is publishing a compendium of 6-word memoirs by various authors (some of them were previously compiled in the 2007 edition of The Best American Non-Required Reading.) My favorites include Drew Peck’s “Ex-wife and contractor now have house” (which follows in Hemingway’s footsteps of implication), and Bob Redman’s “Being a monk stunk. Better gay” (for its musical qualities). All entries are fun, and they make you want to try writing one.I myself am terrible at the six-word story, autobiographical or not. Perhaps that’s the real reason why I don’t want the “extreme” in my “brevity.” I use as few words as a story requires – but sometimes a story requires a lot of words. Isn’t that what writers of the long short story – such as Alice Munro or Deborah Eisenberg – might tell you? But Poe warns against this, too, for “the sin of extreme length is even more unpardonable.”Uh oh.
USA Today rounds up media coverage of the 75th anniversary of the publication of Dashiell Hammett’s The Maltese Falcon. They share this tidbit, too:The Maltese Falcon was first published serially in five parts in Black Mask magazine from September 1929 to January 1930; Knopf published it as a book in 1930. “There are about 2,000 differences between the two published texts – sometimes a comma or a paragraph placed (differently), but often it’s Hammett fooling with the prose to get it just right,” says Richard Layman, author of six Hammett books, including Shadow Man, a biography, and a trustee of Hammett’s literary property trust.USA Today also put the book’s first chapter up. Check it out.
I am almost done reading a very remarkable book. Actually, it’s not really a book, it’s seven novellas about one man, a mysterious character by the name of Maqroll the Gaviero. He is too complex to really describe, but I suppose I might try: he is an adventurer first and formost, preferably by sea, but he is not in it for the excitment. His travels are constant because it is his compulsion. He is a lover of the world and ships and beautiful women. He is an excellent judge of character, though he is often drawn into disregarding his own judgements. He encounters many fascinating characters, and we follow as well the Gaviero’s companions and trusted friends, Abdul Bashur (Dreamer of Ships) and Ilona Rubenstein (the Nymph of Trieste).The Adventures and Misadventures of Maqroll by Alvaro Mutis is, dare I say it, on par with and even surpasses the work of Borges and Garcia Marquez. These novellas span the globe like no book ever has. Maqroll visits every continent and sniffs out schemes and companions in every port. This Maqroll, he is no vain adventurer, no hero. He is tortured by his restlessness. He is at the same time a most exceptional man, well-read and loyal, courteous and brave when bravery is required. And yet he is so fragile. I worry about Maqroll as he is blown about the globe by the whims of a strange fate. I am almost done with the 7th and final novella. I have almost reached the last of the 700 pages, but I am not ready to say good bye. This Maqroll, he can really get ahold of you. I have read some books, and though I am by no means an expert, I can say that this book will have to be a classic. It is just so good.
Skimming through the CS Monitor book section I came upon a capsule review describing Because She Can by Bridie Clark as the latest example of “assistant lit.” I assume that this trend hit the big time with the success of The Devil Wears Prada, and the subsequent movie version. But just as some see Jane Austen as a precursor to so-called “chick lit,” I wonder if “assistant lit” has some historical antecedents.One fairly obvious example that comes to mind is Charles Dickens’ A Christmas Carol, perhaps the ur-assitant lit, in which the sympathetic Bob Cratchit is put upon by his terrible boss Ebenezer Scrooge, who has become something of a model for penny-pinching bosses ever since. But in that case, the action focuses on the boss, and we don’t get much of Cratchit being forced to do Scrooge’s laundry.Another, much more recent example – which actually came out after Prada – might be Rick Moody’s ambitious novel The Diviners, which offers a bleak (and not altogether successful) take on the humiliating plight of the assistant, while also, more or less, attempting to chronicle the downfall of our vacuous, celebrity-obsessed civilization.Then again, it might just be that the book that many consider to be the father of the novel, Don Quixote, also happens to be the very first example of “assistant lit.” Sancho Panza fits the bill as he is endlessly put upon by a boss who manages to both domineering and moronic. For those who have been assistants, as I once was, Don Quixote and his maddening whims will likely call up memories of capricious bosses.But certainly there must be other examples of assistant lit that long predate the current trend, or like The Diviners turn it on its head. Can anyone think of some other good examples? Share in the comments.
Book hoarder that I am, I tend to buy most things second-hand, occasionally remaindered, almost always paperback, ideally pocketbook. But never hot-off-the-shelf hardcover. Okay, occasionally. When Bob Dylan’s Chronicles came out a couple of years ago, I bought it after work on the first day and actually refused to return home without a newly-minted copy in my backpack. (It’s an obsession. I’m handling it.)The portability of paperbacks and the affordability of second-hand makes for an appealing combination. But the odd time that I do dig into my wallet for something new, especially a new hardcover, I’m astounded by the cost. This might sound a bit trite. The high cost of newly published books is hardly news. But I look at the price on the jacket and I see a massive difference between the US dollar cost and the Canadian dollar cost. This difference bears no resemblance to the 2007 economy.Less than five years ago, the Canadian dollar was sitting at around 65 cents US. In recent years, it’s been inching its way up and now sits at around 95 cents US. So you’d think that a new hardcover sold here in Canada would be only slightly more expensive than the same book in a US store. How then do bookshops and the publishing industry justify the 30 per cent premium that Canadians are often paying?A recent article from the Globe and Mail examines this phenomenon and explores the actions that Canadian booksellers are taking to bring book prices more in line with economic reality. And, in the process, corral more wayward book-buyers like myself, into their stores.With any luck, this matter will be resolved by the time Dylan’s Chronicles Volume Two comes out.
February 23rd marks the 20th anniversary of the original publication of David Foster Wallace’s Infinite Jest, and on that date, his publisher Little, Brown is putting out a new edition of the now classic novel with a new introduction by Tom Bissell. To recognize, as Little, Brown put it, ” the deep way that so many readers have connected with the book over the last twenty years,” the publisher held a contest allowing fans to submit their designs for the new cover.
The winner, we can reveal, is Ohio-based designer Joe Walsh, who has dispensed with the sky imagery that has adorned all prior U.S. editions of Infinite Jest. Walsh’s cover is spare and employs symbolic imagery with a playful undertone. After seeing the cover, we reached out to Michael Pietsch, CEO of Little, Brown parent Hachette Book Group, and David Foster Wallace’s editor, to get his thoughts.
The Millions: Beyond the commercial considerations, why is now the right moment to issue a new edition of Infinite Jest and what does the book have to say to today’s readers?
Michael Pietsch: I’m astonished that ten years have passed since our 10th anniversary edition with a foreword by Dave Eggers. It’s the publisher’s job to find ways to keep books fresh, and an anniversary like this seemed an unmissable occasion to highlight how alive the book still is. Infinite Jest is embraced and discussed by ever larger numbers of readers with each passing year. This new edition is a celebration of that vitality and an invitation to those who haven’t yet turned the first page.
The book’s main ideas—that too much easy pleasure may poison the soul, that we’re awash in an ocean of pain, and that truly knowing another person is the hardest and most worthwhile work in the world—are truer now than they’ve ever been. Tom Bissell’s brilliant new Foreword calls attention to this far better than I can.
TM: Why did Little, Brown decide to go with a fan-designed cover and what would David have made of that decision?
MP: The internet has made it possible to see the massive amount of creative response readers have to Infinite Jest. I’d seen a lot of art connected to the book online, and it seemed that allowing readers who have loved it to submit cover designs for the anniversary edition was a way of honoring and highlighting all that creativity.
I never presume to comment on what David would have made of this or any other aspect of our work. The David Foster Wallace Literary Trust wholeheartedly supported the idea of inviting fans to submit cover art.
MP: David sometimes made suggestions for cover art. For Infinite Jest he proposed using a photo of a giant modern sculpture made of industrial trash—an interesting idea, but one that our creative director felt was too subtle and detailed to work as a cover image. The cover image for the paperback of A Supposedly Fun Thing I’ll Never Do Again is one he suggested, and that I’ve always loved.