As I recall there was a brief burst of interest in Alexandre Dumas’ The Count of Monte Cristo when the movie came out in 2002. It makes sense because the movie does a good job of capturing this story of intrigue and revenge, and, in fact, the novel lends itself well to the screen because it is so packed full of brilliant schemes and vivid characters. At the start of the book Edmond Dantes, a young French sailor, gets unwittingly wrapped up in the political machinations of his day, and ends up getting hauled off to the Chateau d’If, an island prison as sinister as it sounds. At this point, though we feel sorry for Dantes, we are treated to 50 or so pages of his struggle against hopelessness and his friendship with a priest named Faria. Dumas’ account of Dantes time in prison is thrilling both for its emotional weight and for the ingenious plans that Dantes and Faria concoct. By the next stage of the book, when the mysterious Count of Monte Cristo begins stirring up trouble among the Parisian elite, you wonder what else could be in store, since so many adventures have already occurred. But it turns out there’s a whole lot more. Dozens of characters are introduced, and though at times it becomes a bit overwhelming trying to remember who is romantically involved with whom and who is trying to kill whom, the whole massive web manages to untangle itself wonderfully in the end. The book is a real joy to read and Monte Cristo is a brilliant character. You will find him to be both enthralling and terrifying.
[Recent studies] suggest that children learn best when they are allowed to select their own books… [According to one researcher,] “I don’t think the majority of these kids ever read during the summer, but [being] given the opportunity to select their own books and discuss what they knew… was, in itself, motivating to them.” –The New York Times
My Summer Book Report
By Zach McCormick
Mrs. Bianco’s class, Grade 4
The book I picked to read during my summer vacation was Portnoy’s Complaint, by Philip Roth. I picked Portnoy’s Complaint because it was right on my dad’s bookshelf and also because the cover was very yellow and the writing on the cover was very swirly. And I was also pretty curious about Portnoy and his complaint. What is he complaining about, I wondered? I like to complain sometimes, like when my mom forgets to put Fruit By the Foot in my lunchbox, or if she puts a plum in there instead of Fruit By the Foot. So I thought it would be neat to see what he’s complaining about.
The first thing he complains about is his mom. I don’t think he likes her very much, because she does really bad things to him. She won’t even let him eat French fries or hamburgers! She says, “Don’t eat French fries with Melvin Weiner after school.” My mom doesn’t want me to eat French fries that much either, but Portnoy can’t EVER have them or he’ll get in trouble.
Portnoy also complains about his dad, because he doesn’t know how to hold a baseball bat! Portnoy also talks a lot about his dad’s rectum, which is WEIRD. I never read a book that had the word “rectum” in it before, except maybe the dictionary. I know it’s in there because I looked it up when I was reading “Portnoy’s Complaint.” It means “tush.”
Also, besides “rectum,” there are a LOT of bad words in Portnoy’s Complaint, by Philip Roth! Portnoy says the “f” word a LOT. I felt kind of bad when I was reading it, because I knew I wasn’t supposed to see those words, and my dad might catch me and then I wouldn’t be able to watch “Phineas and Ferb” for a whole week. That’s what happened when I used his drill, even though I was wearing goggles and I didn’t go ALL the way through the car door. He never caught me reading Portnoy’s Complaint, though.
Portnoy also says “bullshit” and “nipple” and “bitches” and “whore” and “ass.” Also, he says “prick” and “tits” and “sex.” And also, “suck” and “crap” and “diarrhea.” (Sorry, Mrs. B!)
There are a lot of words in Portnoy’s Complaint that I didn’t really get, like shtupp and schlong and shmutzig and punim. I don’t know what they mean, but they’re really fun to say! Shtupp shtupp shtupp shtupp schlong schlong schlong schlong!
There’s a whole part in Portnoy’s Complaint called “WHACKING OFF” that I didn’t really get. Philip Roth, who wrote Portnoy’s Complaint, keeps talking about penis, so maybe it’s about peeing? Which I like, especially after asparagus, so it smells like asparagus pee. But Portnoy doesn’t talk about asparagus pee at all. Maybe Portnoy isn’t talking about peeing?
What’s a “vaselined upright”?
I guess the main part of Portnoy’s Complaint is how he has all of these girlfriends, but he doesn’t really like them, and that’s sort of WEIRD. I don’t have a girlfriend really, but I think if I did, I would like her. DON’T TELL HER, Mrs. B, but I had a SUPER HUGE CRUSH on Danielle S. last year. She wasn’t my girlfriend because I never talked to her, but I really sort of liked her and never threw at her in dodgeball, except the one time when I hit her in the ear and she had to go home. But Portnoy even calls one of his girlfriends a monkey! Monkeys are cool, especially ones that wear clothes, but I don’t think I’d want a monkey for my girlfriend. She’d probably smell bad and have bugs on her, and also she’d try to eat my Fruit By the Foot.
I wonder if you had a monkey girlfriend though, if you could play baseball with her. I saw a movie one time where a monkey was a pitcher on a baseball team. That was the best movie. If my monkey girlfriend could play baseball than maybe it would be okay if she was a monkey. Portnoy never did that with his monkey. They were always doing something else, I think.
But Portnoy doesn’t like his monkey girlfriend, especially when he calls her a “crazy bitch.” (Sorry, Mrs. B!) He doesn’t like ANYTHING, to tell you the truth. He doesn’t like his parents, or his girlfriends, or even himself, really! He says he’s a barbarian, and a pig, and also “psychoneurotic,” which I’m not sure what that means, but it doesn’t really sound very great. We had an assembly last year where they did this play, and it was all about how you should like yourself. They sang “I’m unique and unrepeatable” a bunch of times, and it got stuck in my head for about a month! I don’t think Portnoy saw this play, which had puppets in it.
I didn’t really like Portnoy’s Complaint by Philip Roth, even if it had a yellow cover and swirly letters. It was pretty hard to read, because I didn’t understand a lot of the words, and it made me feel kind of gross, like the time I ate all those Rice Krispies treats at the beach. There were a lot of curses, and Portnoy was angry all the time. He complained about EVERYTHING. I probably should’ve picked Diary of A Wimpy Kid for my summer reading book.
P.S., Mrs. B—what does “Jewish guilt” mean?
After bringing us rankings and tags and reviews and recommendations and lists and blogs and discussions, Amazon, which never met a feature it didn’t want to add to its product pages, has now added wikis. They live way down close to the bottom of the page. There aren’t many of them yet, and it’s hard to see a reason why they would really take off at this point, but who knows. To give an example here’s the text that currently resides in the wiki for James Frey’s infamous A Million Little Pieces: Author James Frey was born in Cleveland, Ohio, in 1969. He was educated at Denison University and the Art Institute of Chicago. In 2000, he spent a year writing A Million Little Pieces, which was published in 2003 by Doubleday Books, a division of Random House, Inc. He is married and has one child. In early 2006 he admitted that much of the content in A Million Little Pieces, which is presented as a memoir, had been fabricated.That’s it. Not very exciting, is it. But perhaps there are more exciting wikis floating around in Amazon-space. If you’re inclined to explore, the list of most-edited wikis might be a good place to start.
Borders’ plan to display more books face-out and, as a result, to stock fewer titles has generated quite a bit of discussion. On our own post about the plan, we received several interesting comments, but I was most intrigued by what commenter Matthew had to say:The Froot Loops example is classic thinking from retailers who enter bookselling from another retail environment.The next time I go down to my local chain Cerealseller to choose my cereal for this week from among the 150,000 cereals on offer Mr Froot Loop can come and offer me some buying advice.Finally, the point of facing out is to attract attention to specific titles from the larger product range. The larger product range sells fewer copies of individual titles, but sells well by total volume… it also serves to attract serious bookbuyers and lend kudos to the bookstore.If chains chose to employ staff with knowledge (and local control) of that enormous range then they’d have a most effective sales tool. These retail gurus need to spend less time in supermarkets and more time at beauty counters and in cell phone stores. Books are a knowledge product requiring retail guidance and salesmanship… do these guys spend as long with their Wheaties as they do with a novel?Emphasis mine. What Matthew has so deftly put into words is something I’ve mulled over since my bookselling days but never quite found the right words for. I’ve always known that knowledgeable booksellers are a huge asset to any bookstore – I was lucky to be surrounded by many when I worked at one – but I had never fully grasped what it means to sell a “knowledge product” as opposed to a “commodity product,” nor had it occured that generally products can be described as one or the other.What’s key here is the distinction between how knowledge products are sold versus commodity products. To use Matthew’s example, when buying a cell phone or going to the beauty counter, you are confronted with many dozens of choices offering an array of specific features suited to a variety of specific needs – bluetooth or dry skin, for example. When it comes to breakfast cereal, you don’t need the guidance as much. The product is cheaper, “wrong” choices cost less, and cereal box mascots aside, one type is generally as good as another.Viewed in this light, it’s crazy to try to sell books as a commodity product because, (and this is just a guess) out of all the retail categories out there, bookstores by far offer the widest array of products, and therefore would require the most guidance and the best systems to help customers find what they are looking for. Undoubtedly, there are many knowledgeable booksellers at chain stores, but if the chains continue to view books as commodity products, their booksellers’ efforts will be futile. It’s also clear why Amazon has been so hugely successful. The site is the ultimate resource for selling knowledge products, with a wealth of information at the ready for anyone looking for a book. It’s possible that, thanks to the internet, the costs are simply too high for chains to go the knowledge-product route, but running in the other direction, towards Froot Loops, hardly seems the answer.For those still interested in this issue even after all this, check out these links:GalleyCat wonders if face-out books will put more emphasis on cover design and follows up with further questions about the co-op payment aspect of this.The Stranger guesses we’ll see more extremely popular and/or bad books face-out at the expense of those hidden gems.A dissenting opinion
On January 19th, while many of us held our collective breath over the results of one national contest, the American Society of Magazine Editors released their list of finalists for the 2017 National Magazine Awards for Print and Digital Media. Curiously absent from the announcement were nominees in fiction, which ASME chose not to promote for the first time in nearly 50 years. The announcement made no mention of the category’s sudden disappearance.
For Michael Ray, editor of Zoetrope: All-Story, the distinction was particularly significant. Writing last Thursday via email, he said the award “breached the ostensibly isolated atmosphere of literature and recognized the fiction writer among a broader peer group of writers and before a more diverse and populous audience of potential new readers.”
Anthony Marra, whose 2016 NMA winning story, “The Grozny Tourist Bureau,” Ray edited, expressed his disappointment in ASME’s omission. “Writing, editing, and publishing short stories in literary magazines is a labor of love for all involved,” he said. “They aren’t clickbait. They don’t make much noise or much money. And yet the best of them long outlast the paper on which they were first printed.”
While ASME has retained the category of “General Excellence in Literature, Science, and Politics,” such broad scope leaves little room for individual recognition, instead favoring the total yearly production of a magazine over excellence in a single piece. This year, Poetry is the only literary magazine nominated in that category.
Last September, Women’s Wear Daily released an email circulated to editors around the magazine industry from ASME Chief Executive Sid Holt. In what amounts to the closest document to a public announcement, the message cites declining fiction entries and, most surprisingly, concern that “few ASME members say they are competent to judge the category.” ASME’s website describes its members as “senior editors, art directors, and photography editors employed by qualified publications.”
Susan Russ, senior vice president of communications at ASME, said that with the diminished numbers of submissions, fiction entries had “less than a fifth the number of entries [than] comparable categories.” While the decision to “suspend” the category, she said, “was not a judgment on the value of fiction or [ASME’s] ability to judge entries,” it is unclear — outside of an attendant fall in submissions fees, perhaps — how the small pool affected the organization.
The arts face an almost certainly precarious future. As a genre, short fiction has long struggled with recognition, and is too often minimized as a stepping-stone to more serious literary enterprises. According to Russ, “ASME is considering alternative ways of honoring fiction,” leaving open the possibility of a new award outside the existent NMA format. But such a move could further isolate fiction from the rest of print culture.
It’s entirely possible, however, that fiction may be back for next year’s contest. Losing touch with the power of writing is not something we can now afford to risk. And National Magazine Award or not, over the coming years, we’ll be needing all the good stories we can get.