- 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.
There are two types of people in this world: (Segment One) people who adhere, as a point of pride, to every last comma and period of the laws of punctuation, and then there the people who just don’t have the time (Segment Two) and, frankly, are a little tired of hearing about these numerous and arcane rules that are supposedly all that separates us from the animals. Bearing in mind that Segment One would be offended that anyone might suggest that punctuation rules are not self-evident and that Segment Two will tell you to blow it out your ear, a book aimed at teaching the populace the in and outs of punctuation doesn’t seem likely to be a blockbuster. Yet just such a book was a huge seller in England last year. Are the Brits crazy or are we Americans missing out on the pleasurable nuances of punctuation? We’re about to find out. Next week, Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss comes out, and its current sales ranking of 6 at Amazon indicates that it will indeed be a success on this side of the Atlantic. And the New York Times seems to like it, which can’t hurt. The success of this book will cement the notion that Americans appreciate this British brand of book that delivers dull subject matter contained in a humorous package and prove that the big sales of last year’s most delightfully useless British book, Schott’s Original Miscellany, was not a fluke. (I hope that I punctuated everything correctly in that post.)
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.
In the first wave of articles on Governor Sarah Palin at The New York Times, I came across a reader-comment that Ms. Palin looked like Geena Davis in the TV show Commander-in-Chief. In this short-lived 2005 drama, Davis played the first woman Vice President, who ascends to the presidency after the death of the President. The Times reader’s comment also reminded me of another fictional first president, 24’s President David Palmer (played by Dennis Haysburt). Had this wildly popular (and very long running – Haysburt played the president from 2001-2005) imaginary depiction of a black president helped acclimate Americans to the idea? I found myself wondering if shows like Commander-in-Chief and 24, which offer fictional visions of scenarios that have not yet come to pass, give history a nudge. Can art/entertainment (the distinction between these two being a debatable one) help us as a culture imagine historical changes – and so help to bring them into being?It would not be the first time in our history that art has given life – and particularly public opinion and national politics – a little push. There is the famous (and quite possibly apocryphal) story of Abraham Lincoln meeting Harriet Beecher Stowe, author of Uncle Tom’s Cabin, Or, Life Among the Lowly, in 1861, and greeting her with words, “So this is the little lady who started this Great War.” Apocryphal stories aside, Stowe’s novel from 1852, sometimes considered a direct response to the Fugitive Slave Act of 1850 but more likely the result of Stowe’s lifelong belief that slavery was a sin in the eyes of God, sold 300,000 copies in the US in its first year and went on to be the first international American bestseller, and the best-selling book of the century, after the Bible. While the novel’s sentimentality and deeply Christian worldview can be alienating to some modern readers, its vivid narrative – by turns realist, gothic, and melodramtic – is undeniably haunting (though its perpetuation of black stereotypes has become proverbial). Uncle Tom’s Cabin has been credited with capturing the national imagination, raising national consciousness, and giving the issues of slavery and emancipation a national urgency that precipitated the Civil War.Stowe’s work – not that of the freed slave turned orator and abolitionist Frederick Douglass – is more often assigned the role of cultural catalyst in the American move toward abolition. Douglass’ work, both for its status as a first-hand account of life as a slave, and for the power and intelligence of Douglass’ narrative voice, is far superior to Stowe’s, but it is Stowe’s – the more melodramatic, the more imaginative, the more comparable to television drama – that sold 10,000 copies in its first week, while Douglass’ best-selling 1845 Narrative of the Life of Frederick Douglass, An American Slave had 11,000 copies in circulation only after three years in print. Also suggestive of a television-esque quality, Stowe’s Uncle Tom was originally published serially in a magazine – in episodes. If popularity in fiction is any indication of a country’s readiness for a historical change in fact, it would seem that America is ready for a black president but perhaps not quite ready for a female running mate who stands a decent chance of ascending to the presidency (given McCain’s age and history of skin cancer). It’s all much more complicated than this, of course, but I find the idea that the imaginary can give shape to the real (in a non-Don Quixote-ish way) quite captivating.
Next, I turned to my second William Boyd novel Stars and Bars. This modern day comedy is the story of Henderson Dores, an English specialist on Impressionism who moves from London to New York in an effort to switch from academia to the lucrative business of art auctioning and to re-establish his relationship with an ex-girlfriend, who recently divorced her husband and has a teenager daughter. In Stars and Bars, Boyd exploits the differences between the English and American cultures to relate the South through the shocked eyes of Henderson. The protagonist faces a lot of challenges and his efforts to conform his lifestyle to certain English ideas do not necessarily pay-off in the good ol’ U.S. of A. Henderson defines unlucky in his exploits and his misfortunes make for a grand laugh. Need I mention that Stars and Bars is also an amazing page turner?I wanted to go on reading Boyd, but decided to take a rather unfortunate break and read Vladimir Nabokov’s Look at the Harlequins!. This is the first novel I read by Nabokov, and I realized what a bad choice it was halfway into it, but finished it nevertheless. Look at the Harlequins is an autobiographical piece and has a ton of references to other works by Nabokov, none of which I understood. So, if youre not well versed in Nabokov, do not look at the harlequins.To cheer up after my terrible defeat to Nabokov, I picked up Joseph Hellers Catch As Catch Can, a collection of his pre and post Catch-22 short stories, some published in magazines, others not. I really enjoyed the collection and left the book with my dad when I was visiting Turkey over the summer (he lobbied for 6 tireless years for me to read Catch-22, the day he bought me the book and saw me start reading it must have been one of his happier days. Actually he was so inspired by Major Major Major Major, that he wanted to name me judge in Turkish, thinking that it would prevent future jeopardy when I began drunk driving. E.g. when the cop pulls me over I tell him I am “Judge Peker,” and he would be intimidated into letting me go.) Regardless, Catch As Catch Can reveals an interesting and rather dark side of Heller before he wrote Catch-22. His subjects are all very interesting people. Among them are: old men, poor working class Brooklyners, junkies, and seamen, all in the wonderful city of New York. Catch As Catch Can also includes some stories that tell of Yossarian and Milo in their later days, which are written in the same manner and tone of Catch-22 and maintain the same level of hilarity. As in Milo sells non-existent fighter jet to the U.S. Air force to fight communists. Yes, it is great. My dad approved of the follow up Yossarian and Milo stories too.Previously: Part 1, 2, 3, 4, 5, 6