A few months back there was some fuss about Penguin selling, for close to $8,000, the Complete Collection: More than 1000 of the Greatest Classics. Recently, used bookstore owner Jeff Sharman went through his inventory and found “a handful of forgotten Penguin Classics” – ones that didn’t make the cut. He raises an interesting point that not all classics stand the test of time.
Gabriel Garcia Marquez, a Nobel Laureate with a decent claim to the mantle of "greatest living writer," has a new book out this week called Memories of My Melancholy Whores. It's been out in the Spanish-speaking world for a year, so most folks have heard what this slim volume is about: according to the Times Online: "a respected journalist, breaking the rules of a lifetime to fall madly, anarchically, transgressively in love with a 14-year-old girl on the eve of his 90th birthday." The review goes on to say, "There is not in this slender book one stale sentence, redundant word or unfinished thought." But Tania Mejer in the Boston Herald writes, "To call Gabriel Garcia Marquez's latest effort disturbing is an understatement," and later, "every time I reflect on the story, I can't help but think how unsettling it is." In fact, the reviews across the board seem torn over this book - is it yet another transcendent example of Marquez's writing or is it creepy? Luckily the Complete Review is keeping score and gives this one a B+. See Also: The Marquez scoop and an early look. Update: Here's the glowing review in the Chicago Tribune that Pete mentioned in the comments. Amazing the disparate reactions to this book.23-year-old Uzodinma Iweala started his debut novel, Beasts of No Nation in high school after reading an article about child soldiers in Sierra Leone. The novel is told in the pidgin voice of a child soldier in an unnamed West African country. Iweala, who is American-born but has Nigerian roots, is already receiving plaudits from some big names. In an interview with MoorishGirl, Salman Rushdie named it "book he most enjoyed reading recently," and Ali Smith in a review at the Guardian described the book as "a novel so scorched by loss and anger that it's hard to hold and so gripping in its sheer hopeless lifeforce that it's hard to put down."
● ● ●
I got my copy of FILTHY today from Patrick Brown... man, it looks incredible. Great writing, great graphics, really nice paper. It's just a great-looking little magazine. Apparently Dave Eggers got ahold of a copy at the LA Times Book Festival and he loved it, and that can't hurt. If you want to take another gander at this little mag, check it out here. Also, if you want to download some music today, but can't decide what to search for on the file sharing application of your choice, can I recommend Esquivel... he will blow your mind.
In August, 2006, a few months after the first Federer-Nadal Wimbledon final, David Foster Wallace published "Roger Federer as Religious Experience," in the New York Times, a lengthy footnoted essay describing the sublimity of Roger Federer and the elements of top-flight tennis that can only be captured watching it live. The essay is not only the best piece of tennis writing I have ever read, but the best piece of sports writing, period. There are countless parts that merit reading out loud to whomever's nearby. One among them:At least not entirely. TV tennis has its advantages, but these advantages have disadvantages, and chief among them is a certain illusion of intimacy. Television's slow-mo replays, its close-ups and graphics, all so privilege viewers that we're not even aware of how much is lost in broadcast. And a large part of what's lost is the sheer physicality of top tennis, a sense of the speeds at which the ball is moving and the players are reacting.Yesterday's Federer-Nadal final reminded me of the piece, and, as I have done every year around this time for the past three, had me emailing it out to all my friends, beseeching them to read it, because this time, it really is worth it. It has become a fixation of our manic media culture to instantly assess a just-completed event's place in history. And in the same way that it drives web traffic and sells newspapers to inflate the significance of a "gaffe" by a presidential candidate, rarely a week goes by without some game or another receiving the brand of "classic" status on ESPN. But every now and again the genuine article comes along, making it obvious that all the other hyperbole was just that. Yesterday's Wimbledon final was that kind of event. I imagine DFW was watching. I hope he writes about it.
Short story collections undoubtedly reign supreme as the most optimal reading material for the beach. They don’t require the mental commitment that a full-length novel does, they allow for a sense of accomplishment every time you finish one in the collection, and, perhaps more importantly, they provide breaks at precisely the right moment when you need more alcohol. If you’re planning an upcoming vacation, consider taking along J.D. Salinger’s Nine Stories, David Updike’s Old Girlfriends, or Lady with the Little Dog & Other Stories by Anton Chekhov. It is no coincidence that all three have several beach-themed stories, which I take as proof of the validity of my argument. It is in the latter collection that you will find “The Lady with the Little Dog,” a story so remarkable that fellow Russian heavyweight Vladimir Nabokov called it “one of the greatest stories ever written.” I shamelessly board this bandwagon and add merely that “The Lady with the Little Dog” is the most perfect short story for the summer (Nabokov does not appear to have evaluated art using this metric). It is 1899. Summer is in full swing in Yalta, the glamorous resort town for the glamorous Russian aristocracy. The Black Sea and the sun converge and collectively shine so bright that they blind. Gurov, our main character, lazily stares beyond the horizon in search of something. Of what? He hardly knows himself. This is how “The Lady with the Little Dog” marvelously opens up, immediately creating a drunken feeling of infinite, if somewhat ominous, possibilities. Isn’t that what summer is all about? Gurov is a terrible human being: a lying, cheating, misogynistic -- but charming! -- philander. He’s an Ocean’s Eleven-era George Clooney without a soul. When he hears of a pretty little thing, newly-arrived in Yalta, he considers, “If she is here alone without a husband or friends, it wouldn’t be amiss to make her acquaintance.” I love this guy. The pretty little thing, the titular lady with the dog, is Anna Sergeyevna, a young Cruel Intentions-era Reese Witherspoon to Gurov’s winning Clooney. She is recently married, but like all 19th-century literary Russian aristocrats, unhappily so. What happens next is predictable: two strangers at different points in their lives, an encounter in an exotic locale, an inevitable, tempestuous affair. If it sounds derivative, it’s because every star- crossed lovers’ tale you know from 20th-century film and literature is an imitation of Chekhov’s original. But what Chekhov does in “The Lady with the Little Dog” is extraordinary. He makes you root for the terrible human being. In spite of your better judgement, you long for Gurov to charm the girl, to seduce her, and, perhaps, to break her heart. When Anna confides in Gurov her agonies and unfulfilled dreams, he observes that “there’s something pathetic about her, anyway,” and you laugh hysterically. You feel sorry for Anna, but you decide that if she’s stupid enough to fall for this charming fraud, then she deserves to be swindled. Or maybe you are a moral person, and you don’t feel that way at all. In any case, you will be as seduced by “The Lady with the Little Dog” as Anna is enamored with the monstrous Gurov. In the characters’ forbidden love affair, Chekhov evokes the spirit of summer: oppressive but liberating, exhausting but exciting, stultifying but intoxicating. Gurov’s life is an eternal summer, and in the summer, every day is a “thirsty day” when one does “not know what to do with oneself.” In the summer, one is particularly susceptible to the wonderful things that surround. For me, it is snorkeling along a coral reef in the middle of the Caribbean Sea; for Gurov, it is sitting next to a beautiful young woman in the dawn of light, with dew on the grass. I think Gurov wins. I will not spoil the entire story, but precisely when you think you know how it will all come crashing down, Chekhov surprises. If you rooted for Gurov in the beginning, by the end you’re praying that he gets his happily ever after. But Chekhov has something special planned for Gurov and Anna and the reader. Abruptly, dizzying, the story ends, leaving one gasping for air, unprepared for the solemnity of autumn -- much less for the emptiness of winter. Chekhov makes you long for summer, with all of its intensity, with all of its oppressiveness. He makes you long for a time, in Yalta or elsewhere, when the sun and the sea meet before you, when life overflows with possibilities. As “The Lady with the Little Dog” comes to a close -- perhaps disappointingly, perhaps perfectly -- even those who dislike the summer months will be left aching, just a little, for a few more drowsily sweltering days.
Thoughts of suicide, depression, and listlessness for weeks on end are just a few ways the loss of a lover is mourned. Unrequited love can open an abyss in which time and activities cease, or it can turn us towards life, as Rilke states in The Duino Elegies, sending us trembling like arrows, leaping into the future. Roland Barthes wrote A Lover's Discourse after separating from a lover: his compendium of reflections from the lover's perspective makes the solitary sorrow less so, by reflecting on the universal experience of madness, delusion, and exaltation when falling in love, and later the jealousy, anxiety, and sorrow distance imparts. Barthes traces the trajectory of love, which feels so personal and irreplaceable, and in doing so reveals the common course of love: "('It develops, grows, causes suffering and passes away' in the fashion of a Hippocractic disease): the love story (the 'episode', the 'adventure') is the tribute the lover must pay to the world in order to be reconciled with it."Sophie Calle took the arrow's course upon her lover's spurning and transformed her misery into art. As obsessive as Barthes, she explores and classifies love from the perspective of the break-up. Her lover ended their relationship in an email that closed with the line, "Take care of yourself." Her exhibition now showing at the Paula Cooper Gallery is her response. Calle consulted one hundred and seven women and asked them analyze the letter according to their professions: a markswoman shoots the letter, a parrot chews up the crumpled letter, a copy editor breaks the letter down grammatically and calls it repetitive, the criminal psychologist calls the letter's author manipulative and psychologically dangerous "or/and a great writer." Although Calle won't reveal the author's identity in the exhibition or in later interviews - according to her, "What I'm putting on show is a dumping... I don't talk about the man, and all the better. The subject is the letter, the text..." - the psychologist's analysis is accurate in at least one respect: Calle's former lover is a respected French writer, Grégoire Bouillier.With the aid of the community of women's responses, Calle depicts the anatomy of a break-up while on the rebound. In the video of Calle's session with a family mediator, where the letter sits in a chair across from Calle in place of the lover, Calle works through her grief, her astonishment, and attempts to move past it. Although she didn't like the letter, she states, it was better than nothing, and transforming it into this exhibition "has done [her] a lot of good." It was good for her and even better for us, for the ephemeral relationship ended with a relic that Calle has transformed into a poignant meditation on lost love and the lover's obsession. Barthes writes in A Lover's Discourse, "the love which is over and done with passes into another world like a ship into space, lights no longer winking: the loved being once echoed loudly, now that being is entirely without resonance (the other never disappears when or how we expect)." With Take Care of Yourself, Calle bids her love adieu. As she states, in the end, "the project had replaced the man."