I’ve recently become somewhat addicted to the (newly rechristened) Comics Curmudgeon. If you enjoy the sometimes funny, usually surreal world of the newspaper funny pages, then you will get a kick out of this blog.
The Hag points us to this humorous but heartbreaking article about the declining fortunes of freelance journalists. Though I’m not at the moment trying to make it as a freelance journalist, I’ve always thought it something I might like to try. You know: the freedom, the romantic life of the roving freelancer, the potential for glory on glossy pages, all that. But, according to Ben Yagoda, things aren’t as they once were. Even the quality of the rejection letters has declined substantially:A friend of mine, who never got published in The New Yorker, still treasures the bunch of hand-typed and personal rejection letters he got in the late ’70s and early ’80s from William Shawn. That’s so 20th century. These days, you’re lucky to get a form letter. The pocket veto – that is, the unreturned e-mail, letter, or phone call – has become an accepted way of turning down ideas and submissions, even from longtime contributors.
If the Food Issue is the highlight of the New Yorker publishing year, then the Style Issue is certainly the nadir. Crammed full of glossy ads, the too-thick-to-not-be-a-double-issue magazine dwells endlessly on profiles of fashion industry bigshots, all of whom seem to have shared the same eccentric quasi-European upbringing. (They bring to mind Dr. Evil and his famous: “My childhood was typical – summer in Rangoon, luge lessons. In the spring we would make meat helmets. When I was insolent, I was placed in a burlap bag and beaten with reeds. Pretty standard, really.”) And don’t get me started on those Patricia Marx shopping sprees. I do, however, note that Oliver Sacks has an article about amnesia in there, so perhaps it won’t be all bad.
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.
Pulitzer winner Junot Díaz talks with his fellow “Year in Reading” contributor Meghan O’Rourke in the debut episode of the online video series Open Book, co-sponsored by Slate and my alma mater. I’m thrilled that the producers elected to keep the same zany voice-over guy who reads Slate’s audio podcasts. Future interviews, we’re told, will include John Ashbery, Charles Simic, and Jonathan Safran Foer.
Sloganeering rightly takes me to task for my sloppy framing of the NaNoWriMo debate – primarily the fact that I make no attempt to present the opposite point of view – and does it for me by pointing to Websnark’s pro-NaNoWriMo post from a year ago.Clearly some people find NaNoWriMo useful (or at least fun) or it wouldn’t still be around, but I question the idea that it’s good for aspiring writers. Websnark presents four reasons why NaNoWriMo is an instructive exercise. The first three touch on the idea that if you want to be a writer, you have to stop being lazy and/or afraid and you have to write every day. This is undoubtedly true, and at the very least NaNoWriMo shows people how hard this really is, though I have my doubts that very many people continue to write every day on December 1 and beyond, which is the point, right? Essentially, I’m not convinced that there’s an easy trick to learning how to write every day, or even that it can be taught at all.Websnark’s last reason for liking NaNoWriMo is that “There are worse reasons to form a community than creativity,” and that is about the best defense of NaNoWriMo that I can come up with as well. There certainly worse, less productive things one could do with one’s time, and NaNoWriMo makes a solitary, often grueling endeavor fun and social, if only for one month out of the year. But, then, if writing weren’t solitary and grueling, we’d all have novels out.