A few days ago Scott put up a post about audiobooks in which he put forward the idea that listening to a book isn’t quite the same as reading it. There were quite a few people who disagreed with him, though not persuasively enough to change his mind. I happen to be a fan of audiobooks which I see as an alternative to bad radio rather than a substitute for reading. Anyway, in light of the recent discussions at Conversational Reading, I was intrigued by this article in the CS Monitor about the “Audies,” the Oscars for the world of audiobooks. The three finalists for Audiobook of the Year are an eclectic bunch: The Bad Beginning: A Multi-Voice Recording read by Tim Curry et al, My Life read by Bill Clinton, and Ulysses read by Jim Norton and Marcella Riordan (that’s 22 CDs or 27 hours worth of Ulysses by the way.)
Michael Chabon has announced a release date for his next novel, The Yiddish Policemen’s Union, April 11, 2006. As some of you may recall, “The Yiddish Policemen’s Union is set in a parallel world in which the Jewish homeland was set up in Alaska rather than Israel, something that president Franklin D. Roosevelt considered during World War II.”Also recently posted: cryptic word of a film version of The Mysteries of Pittsburgh (recently rereleased with a new cover.) Since Chabon is revealing only the initials of those invloved with the film, it’s unclear what exactly is going on. Is it me, or is Chabon getting weirder and weirder? If anyone knows who he’s talking about here, please let us know.Previously: What Chabon’s been up toUpdate: Kyle in the comments was right, Chabon has updated his post about The Mysteries of Pittsburgh film: “to be written and directed by Rawson Thurber, writer/director of the commercially successful and highly amusing Dodgeball (2004).”Update 2: The Yiddish Policemen’s Union has been postponed.Update 3: The Yiddish Policemen’s Union will be out in May 2007. pre-order now.
This must be some sign of the times: our friends at The New Yorker are currently offering the DVD-ROM set of “every page of every issue” at the fire sale price of $19.99 (and Amazon has it for as cheap as $16.72 as of this writing, though the sets for sale there may only be through 2005). It would seem that, during the time-intensive process of digitizing the New Yorker archive, technology outran itself. Shortly after the release of the boxed set, as we pointed out last year, “Every page of every issue” became available to subscribers at newyorker.com. That is to say, the DVD-ROM version is already obsolete. Still, there’s something amazing – even scandalous – about having the collected labor of White, Addams, Trow, Frazier et al. sitting in a svelte case on your desk. And heaven knows Condé Nast needs the revenue: The New Yorker was apparently its biggest ad-page loser last year, and we took note of a decidedly slimmer Winter Fiction Issue in September.
Earlier today it was announced that Lan Samantha Chang has been named the new director of the Iowa Writers Workshop. Here’s what my friend in Iowa had to say about the choice:So, yeah, Sam Chang. The gossip had her picked since last week. The students as a whole, are somewhat disappointed. Ben Marcus was definitely the favorite among everyone…for his exciting workshop and even more exciting craft talk, if not for his reading. We all knew he wouldn’t get it though. Too much craziness, perhaps? Sam’s workshop, as I reported, was great, and it’s my hope that her leadership and fundraising skills match her teaching abilities. Since she’s a workshop grad, I don’t think much will change around here, which is both good and bad. It would’ve been nice to get some new blood around here.Lots of related links can be found at Babies are Fireproof.
Yesterday I mentioned John Keegan’s latest book, The Iraq War. The book is meant to be an overview of the conflict, yet in the eyes of most people the Iraq War is still brewing. Yes, large scale military operations have long been over with, but, with breaking news coming from the region daily, one suspects that the history books, looking back, will not describe this conflict as being finished. As such, it is difficult to look at Keegan’s book as a definitive overview of this war. This is Janet Maslin’s take in today’s New York Times (she also thinks that Keegan’s angle is too Western and “snobbish.”) My suspicion is that this book was rushed to completion and into book stores by the publisher in order to get in on the brisk sales of Iraq-related titles. Undoubtedly, a little temporal distance from the subject matter would have improved Keegan’s effort.Lovers of architecture and books alike are raving about Seattle’s new Central Library, a graceful steel and glass structure designed by the Dutch architect, Rem Koolhaas. Here’s praise from the Seattle Times, and here’s the official website with pictures. One of the more interesting aspects of the new library: the stacks are laid out on continuous, unbroken shelves that spiral through the center of the building.A few months ago there was an interesting article in the New Yorker about one of the world’s lost treasures, the Amber Room, “an entire chamber paneled and ornamented in amber presented to Peter the Great of Russia in 1717 by King Frederick William of Prussia as a gift to seal the friendship between their two states.” The New Yorker article described the search for the room, thought to have been hidden in Germany by the Nazis during World War II, as well as the construction of a costly replica of the room that was being built in Russia. As with much that occurred behind the Iron Curtain, there was much doubt about the true fate of the Amber Room. Now, in a book entitled The Amber Room: The Fate of the World’s Greatest Lost Treasure by Adrian Levy and Catherine Scott-Clark, new evidence is revealed that solves the mystery once and for all. Read an edited extract from the book.
I’m in the middle of the most recent National Book Award winner The Great Fire by Shirley Hazzard. It’s an oppressive book both in style and content. Each description comes with an aside or a qualification. When one character, a young Australian soldier, relieves himself on the side of the road during a break in a drive across the Japanese countryside, Hazzard describes it this way: “The young driver, profiting from the hiatus, had meanwhile peed behind bushes.” Everywhere there are these odd little inclusions like “profiting from the hiatus.” The book is about the occupation of a shattered, destroyed, and conquered place, specifically the Allied occupation of post-war Japan. There is still everywhere the lingering hysteria of war, which Hazzard, like the occupiers she describes, tries to forget or ignore by imposing a false civility on the situation. The interplay of the conquered and the conquerors thus leads to dense language and curious juxtaposition. The Great Fire reminds me a lot of what was probably the first truly difficult book I ever read, Graham Greene‘s, The Power and the Glory. In that book, the “civilized” is a priest and the uncivilized is the tropical criminality of Mexico. Luis Bunuel once suggested to Alvaro Mutis, purveyor of his own brand of magical realism and author of the incomparable The Adventures and Misadventures of Maqroll, that it is not possible to write a gothic novel that is set in the tropics. Mutis supposedly refuted this by writing The Mansion & Other Stories, though I can’t comment because (as of yet) I have been unable to lay my hands on that book. So, at this point, I would have to agree with Bunuel. In order to invoke the tropics one must also invoke the oppressiveness of the conditions there; content dictates style, which brings me back to The Great Fire. Though the book is not set in the tropics, its setting is oppressive, and thus so is the writing. And though I’m only a little ways into the book, it doesn’t seem like this is a bad thing.