Amazon has a huge repository of customer reviews, and now, for the first time, they are searchable. I don’t know if this is something I’ll use very often, but it’s pretty fun.
(via Micro Persuasion)
Amazon has a huge repository of customer reviews, and now, for the first time, they are searchable. I don’t know if this is something I’ll use very often, but it’s pretty fun.
(via Micro Persuasion)
C. Max Magee created The Millions and is its publisher. He and his family live in New Jersey.
Recently two people who wouldn’t seem to have much in common—my 26-year-old brother and my one-year-old son—have both had me thinking about wonder and fear, and how their experiences of those two things are similar to each other’s, and different from my own.
My brother Ryan is traveling right now, halfway through a backpacking trip that will last through to the early summer. Before he left, he took a Saturday morning bus down to Philadelphia to say goodbye. I waited for him on the front stoop of my apartment building, with my son James perched on my hip. We spotted him when he was still a block away and even at a distance I could tell Ryan was grinning; as the youngest sibling in our family, he had always been the one left behind, but now it was his turn to skip away.
Each morning I wake early to the sound of James crying down the hall. Like my brother abroad, the world is a strange place to him and he’s often scared. I bring him into the bed where he nurses with my wife; then it’s up for breakfast and the official start of the day. I’ve lately become an expert with our toaster; the bread always comes out just right. I eat my cereal while James munches on his diced banana, sometimes smearing the fruit across the table, sometimes putting it into his mouth.
Over the last few weeks James has learned to “cruise,” that is to walk side-shuffle by holding onto the edge of a couch or by pressing himself against a wall. It was while watching him try to bridge the short gap between our bureau and our bed that I first thought about how his days are like my brother’s. The previous evening Ryan had sent an email about a harrowing bus ride he’d just taken into the Himalayan foothills north of Delhi. He said that when he’d looked out his window, there was a sheer thousand foot drop where the road was supposed to have been. I imagine James, if he had the words, would describe his days in much the same way.
In the afternoon James and I take a long walk. When I first moved to Philadelphia four years ago, I was running a lot and I liked the idea of trying never to follow the same route twice. Now James and I trace the same path everyday: 20 blocks east to the river on Pine, 20 blocks back west on Spruce. I like being able to anticipate the topography of the sidewalk, to steer the stroller around the same loose patch of bricks that I avoided yesterday, and to know by the cloud cover whether the children at the nursery school we pass along the way will be playing indoors or out.
Even amid such routine, I still have moments of wanderlust. Every now and again a whiff of burning trash will awaken the physical memory of being alone in La Paz when I was twenty. Or something about the way a woman pokes her head out of a third floor window will remind me of what it felt like to watch the sun go down in Darjeeling. I feel myself drawn towards the airport in such moments, but not in a serious way. There’s James to take care of, and my wife who’d be surprised if I didn’t come home. But more than that, I know that the exhilaration I felt when I woke up in Delhi for the first time isn’t open to me anymore. This is something that I think James, who no longer pays attention to a blue plastic flower he couldn’t get enough of a month ago, understands too.
Of the many misconceptions I had about what it would be like to grow older, two stand out above the rest. The first concerns freedom which I thought about in the same way I thought about candy: I couldn’t imagine how in both cases more was not always better. It would have been impossible to convince myself ten years ago that the small orbit of my current days would feel as satisfying as it does. This I think is the kind of knowledge that is hardest to communicate across generational lines, that in the future you won’t desire the same things you desire right now.
The second misconception is about fear. Watching James, and thinking about how we interact, it’s easy to see why as a child I assumed that the world would becomes less scary as I grew older. He is terrified of being left alone in his crib and I come take him out; a siren sounds outside, and he clings to my leg. His days are filled with at least equal parts wonder and fear, and from that perspective, it must seem as though I command the world.
But I don’t of course. Though my fears are less broadly distributed than they used to be, they are perhaps more deeply felt. I can go days and sometimes even whole weeks without feeling afraid of anything, but then in a moment at night I’ll understand that my wife and I are not promised to fall asleep beside each other forever, and that James, who cruises around the living room each morning, will have to learn the most important things in life on his own.
[Image credit: Abnel Gonzalez]
Biographer Charles Shields has already put this request out on many book blogs, but since he asked, I thought I’d share it here, as well:This past June, I published Mockingbird: A Portrait of Harper Lee. Now I’m beginning work on the first authorized biography – the first biography at all, actually – of Kurt Vonnegut. I’d like to hear from any of your readers about their experiences with Vonnegut, either personally or with his novels.Shields can be reached at [email protected] As a big Vonnegut fan, I’ll be looking forward to this one.Related: Some reactions to Shields’ book on Harper Lee.
A debut novel called Poppy Shakespeare is getting rave reviews in England. The book, by Claire Allan, follows the narrator “N” and the eponymous Poppy at the Dorothy Fish, a mental institution, among 25 residents, one for each letter of the alphabet, “the ‘X’ chair is vacant.” Some quotes from the British press: “Allan’s story comes armed with a voyeuristic potency, because she spent 10 years inside the kind of institutions she satirises so well.” – from The Independent. “Her voice is so idiosyncratic in its rhythms and terminology… her habit of exaggeration so surreal and her use of metaphor so extravagant, as to subtly transform the reader’s perspective of the natural order of things.” – from the Telegraph. In the Times (London), a profile of Allan charts her course through mental illness to become a published author. Also, the British cover is way cooler than the American one. An excerpt is available.Set in the fictional Middle Eastern kingdom of Kutar in 1983, Scott Anderson’s Midnight Hotel sounds like a broad satire of America’s travails in that region. Diplomat David Richards first toes the party line, but ends up abandoned in the country watching as American meddling goes awry. An excerpt is available. Scott Anderson is also a war correspondent like his brother Jon Lee Anderson, staff writer for the New Yorker, author of The Fall of Baghdad, and one of my favorite writers.Guillermo Arriaga wrote the screenplays for Amores Perros (which I loved) and 21 Grams (which I hated). The Night Buffalo is his first novel to be published in the U.S, though he originally wrote it 11 years ago. He’s also bringing it to the silver screen (as El Bufalo de la noche). In a profile, the Financial Times compares the novel to Amores Perros, saying that both are steeped in violence, but it sounds to me like 21 Grams, steeped in melodrama. From the jacket: “The Night Buffalo is set in Mexico City, revolving around the mysterious suicide of Gregorio, a charismatic but troubled young man who was betrayed by the two people he trusted most.” Still, I’ll see any movie he writes, so perhaps his novel is worth a try, too.Two-time Booker Prize winner Peter Carey has a new book out, Theft: A Love Story. The big news about this book is the claim that it is a thinly veiled attack on his ex-wife. The Independent has ex-wife Alison Summers’ side of the story: “The phrase ‘alimony whore,’ repeated within the pages of Theft: A Love Story, has left her feeling ‘devastated’ by Carey’s version of events.” Controversy aside, the Sydney Morning Herald sidesteps the drama and says of the book, which is, indeed, about a man who has been divorced and bankrupted by his former wife, “All in all, Carey’s new show contains much that is lively, engaging and teasingly self-referential.” An excerpt is available.
For Sayonara, Gangsters by Genichiro Takahashi: “Sayonara, Gangsters is one of those rare books that actually defies description… It’s funny, sure. And beautiful. And slightly insane. And haunting. And heart-breaking. But all those words miss the point. The point is you have to read it. So read it.”For The Gangster We Are All Looking For by Le Thi Diem Thuy: “A beautiful, deeply moving story of a family. The more I read, the more I felt the family was mine.”For It’s All Right Now by Charles Chadwick: “This novel is huge — in size, ambition, intelligence, and heart.”For The Only Good Thing Anyone Has Ever Done by Sandra Newman: “Sandra Newman has an original way of thinking. The Only Good Thing Anyone Has Ever Done is often hysterically funny, profoundly strange, and unbearably beautiful. Often all at once.”For My Life with Corpses by Wylene Dunbar: “My Life with Corpses is overwhelming: in its beauty, emotional force, and uniqueness. While I finished the book a few weeks ago already, I have the strange feeling that I’m still reading it — it’s that resonant.”For Please Don’t Kill the Freshman by Zoe Trope: “I am in awe of Zoe Trope. This book is more than the kind of good story we’ve become satisfied with. It’s more than interesting. It’s art.”For The Know-It-All by A.J. Jacobs: “The Know-It-All is funny, original, and strangely heroic. I found myself rooting on Jacobs’s quixotic, totally endearing quest.”For The Noodle Maker by Ma Jian: “The Noodle Maker is hugely entertaining and deeply serious. It’s something to celebrate.”
It’s been hard to watch the news the last couple of days. I’ve been interning with chicagotribune.com this summer, so, since Monday, I’ve been pretty immersed in what’s been happening on the Gulf coast – as immersed as one can be, I suppose, with out being actually immersed. Judging from the light traffic this blog has gotten over the past few days, I’m guessing most folks have been spending their online time reading the news, as I have. Aside from the major news sources – CNN, etc. – here’s what I’ve been refreshing many times a day: the WWLTV blog, the Times Picayune Breaking News Weblog, The Irish Trojan’s blog, and The Interdictor. It’s amazing how much all the blogs out there have enriched the coverage of this catastrophe. It’s a great time to be a news consumer.But you may, like me, also need a diversion from the news. Luckily, my favorite New Yorker of the year has just arrived at my doorstep: The Food Issue. I can’t wait to start reading it. Other diversions:The Chicagoist is giving away three books to promote Picador USA’s 10th anniversary event at the Harold Washington Library in ChicagoI might have to try this: Library Thing is a Web site where you can catalog your library. You can tag the books by subject, and the system pulls in Library of Congress cataloging data. Free for the first 200 books and 10 dollars for a 20,000 book limit. (via H2O)Bookfinder.com, the ultimate Web site for tracking down hard to find books, has released their latest list “of the most sought after out of print titles in America.”
After more than a month of intense reading I’ve finally finished Crime and Punishment by Fyodor Dostoyevsky. As some of you may remember from a post a while back, this was my first serious excursion into the golden era of 19th century Russian fiction. After seeking the advice of several trusted fellow readers (aside: see how well it works! Make sure to Ask a Book Question if you ever find yourself in a similar predicament. We’re here to help!) We collectively decided that C & P was the best place to start. I reacted to the book in a couple of different ways. My first reaction, from almost the very beginning, was that the book felt like a Dickens novel to me. I saw similarities in both the gothic overwrought characters and the lurking shady characters who alternately seemed for or against young Raskolnikov. The friendship between Raskolnikov and Razumikhin, in particular, reminded me of the friendship between Pip and Herbert Pocket in Great Expectations. Other similarities, I think, are structural. Both books were written serially, and as with Dickens, I looked forward to the cliffhanger at the end of each chapter which would ensure that readers would look forward to the next installment. When I read a book like this, it always occurs to me that it’s too bad books aren’t written that way any more. It seems like it would be a really fun way to read a book. (Now that I think of it, I’m pretty sure that Stephen King has experimented with this in recent years). My other reaction was how psychological and modern the book seemed. I never read this or any other Russian novels in school (not sure how that happened) so I had neither expectations nor preconceptions when I began. The book was, in its own verbose way, a very profound discussion of morality and power. More specifically, I was interested in the relationship between the power of murder and the power of wealth and social class. These themes were buried beneath layers of prose. The book seemed to be divided almost equally between action and Raskolnikov’s internal monologue. It was very readable, but occasionally overwhelming. A final observation: the book is filled with events and real people drawn from real life in 1860s St. Petersburg. In the present day, as an established classic, it gives the book a historical context, but I couldn’t help but think about how it must have appeared at the time of its publication. In this day and age, writers are often derided for relying too much on current events and pop culture. Critics claim the these books will lose their cultural significance as they become quickly dated. Yet, in C&P, Dostoyevsky’s practice of referring to specific scandals and amusements that were the hot topics of conversation at the time serves to cement the book very specifically in a time and place and it manages to make the story feel real and complete. I should also mention that I really enjoyed the particular edition that I read. A multitude of informative notes augment the text, and the translation by Richard Pevear and Larissa Volokhonsky felt inventive and engaging. But now I am done, and I am looking forward to a change of pace. I’ve already embarked upon Jamesland by LA author Michele Huneven. The book club that I help run is reading it, and Huneven herself is planning to make an appearance at the end of our meeting so that she can answer our questions. Should be lots of fun.
I thought I was a decent member of the literary community. I read local writers; I buy books at local bookstores; I go to at least one literary event a week. Then my own novel came out. Mountains crashed; music rang out; and I was flooded with the awareness that I’ve been doing a whole lot wrong.
A few weeks in, I’ve assembled a list of my top epiphanies. As you can see, First Novel Karma blends classic karma, the golden rule, the pirate code, and old-school business ethics. Still, I’ve been shocked by how completely this Way has taken root in me; how seemingly obvious it (now) is; how, in most situations, there really is a right way and a wrong way.
Respect the author
Do you have any idea how hard it is to publish a book? First, an author invested years of her life to create a story out of nothing; then she had to plow through hundreds of rejections to convince seasoned industry veterans that the story is actually valuable and land a deal—or, harder yet, do it herself; then she had to go bang the drum to get readers to actually care about the story enough to pay for it, all while emanating grace and gratitude and the goodwill of all humanity.
Books aren’t slapped together over the weekend; they’re built on years of love. Ignore the snarky reviews and trust that love.
Read books from living authors only
This one’s easy: Hemingway’s grandkids are swimming in cash, whereas hustling artists need whatever they can get. That $10 purchase actually does make a difference for writers like me. Respect life.
A guy from my college rap group (long story) just Facebookmailed me to tell me he liked my book. I hadn’t talked to him in person since he mysteriously disappeared after my junior year, presumably to become a plumber. But he bought the book, and may tell more people about it, because he saw it on Facebook.
Facebook feeds your high school boyfriend, your dentist, that girl you used to play tennis with, the friend of a friend who laughed at your jokes at a wedding four years ago. Wading through Farmville gifts from that weird uncle is absolutely worth the hassle. Also, I might be a little spammy for a while, but it’s worth taking that risk—and my friends understand.
Shut up and buy books from people you know
A month ago, when acquaintances put out books, I’d balk at buying em. I have a Kiliminjaro book pile I’m never going to finish, and life’s too short to read books you don’t want to.
Now, when I see friends slishing out of the book sales line, I know I had it coming. From here on out, I’m shelling out for at least one copy. That means sometimes buying a book I know isn’t my style—but on the plus side, an autographed book always makes for a bad-ass gift for somebody.
Don’t talk shit
Not that I’m a particularly big shit-talker, but I have opinions and enjoy sharing them frankly and generally like people who do the same—that’s what makes them interesting.
From now on, I’m only dishing the positive opinions in public. While I remain fervently anti-boring, pissing in the literary pool only enrages the swimmers, and the world’s short enough on civility and tact. If I ever feel an unquashable need to shit-talk, the plan is to let loose on dead guys.
Channel jealousy into solidarity
Did you see the front-page rave in the New York Times for John Brandon’s Citrus County? Every striving writer in America did, then checked John’s meteoric Amazon ranking (I saw it top out at #33).
After 30 seconds of furious envy, I knew I would become an advocate for John—not only do highly reputable people vouch for John’s chops, he’s with a local bad-ass publisher and he’s hustled for years. By god, he has earned it. And the more terrific writers who catapult into mainstream success, the better it is for all of us.
Sell with charm – and by hearing no
My publisher booked me at a “Pre-Bastille Day Happy Hour” last week. Though it sounds intriguingly festive, the event actually consisted of a thin crowd of tourists enjoying a quiet glass of wine. I was already there, so I went for it: during lulls in conversation I politely introduced myself to each table, offering to leave as soon as they said the word. I noted that the Pre-Bastille Day Happy Hour was furiously gaining steam, handed them a copy of a recent review, and offered to read whatever chapter they liked, or tell a joke, or dance for them. An alarmingly high percentage of patrons bought copies immediately; two people went on to buy me drinks. It was a pretty awesome afternoon.
Still, people didn’t like saying no to my face. Identify the code words—“maybe,” “let me think about it,” “I’m out of cash”—and exit with dignity.
Never relax, tastefully
We have so many terrific distractions clamoring for our time—not just millions of well-written books, but also movies, family, bands, sports, The Daily Show and iPads, Twitter and the new hot ice cream shop, not to mention old-fashioned walks on the beach and phone calls and sex. Gambling eight hours and $12 on a first-time novelist is a significant request. I’m a little too aware of this and spend most of my free time figuring out how I can get the word out to people who might care enough to take the dive.
There’s a gourmet restaurant storyline in my book; I’m lining up tasting/reading events with foodie organizations. The book’s an allegory for the French Revolution, so I want to throw down with every Francophile organization within driving distance. I’m in touch with my alumni association, have activated my workplace, and am hitting the neighborhood garage sale. I’m absolutely hustling, but I’m trying to hustle the right way, with thank yous and confirmation emails, eye contact and the extra phone call, every interaction loaded with what I hope comes across as charming and respectful writerly energy.