The Bookfinder.com journal rounds up some links about custom library designers, who do things like “custom-design a $70,000 insta-library for a Saudi Arabian sheik.” Would you like to buy “books by the foot?” (it’s a great way to furnish a room, if not the cheapest) We’ve looked at this phenomenon before, in March and again in August.
Reuters reported today that The New York Sun is in financial trouble, and may be forced to close shop before the end of the month, unless it can find a backer. In some ways, this isn't a surprising development. Global affairs, in the current, real-time sense of the term, require enormous resources to cover thoroughly, and economies of scale would seem to cut against a small-circulation newspaper. But the intellectual seriousness of the conservative-leaning Sun has helped it make inroads in an increasingly wide-open market: the book section.Under the editorship of the poet and critic Adam Kirsch (who has two books out this year), The Sun has become, for my money, the best newspaper book section in the country. Kirsch resembles James Wood in his donnish regard for literary tradition, but, more importantly, he shares with Wood an appreciation for the notion of writerly sensibility - and has been willing to assign books to writers whose well-honed sensibilities diverge from his own. Recent pleasures include Kirsch on canonical German Adalbert Stifter, Benjamin Lytal on contemporary master Marilynne Robinson, Otto Pinzler on the varieties of crime fiction, and Caleb Crain on the evolving English language. This breadth of interest and commitment to excellence (in reviewer and subject) are the key ingredients in the kind of book reviews worth reading. It would be sad, after such a promising start, to see The Sun go.[Correction: An attentive reader informs us that, although Adam Kirsch is "the book critic for The New York Sun", and is, in some sense, the book section, he is not the section's editor. That title, and presumably the role of assigning reviews, belongs to David Wallace-Wells.]
Derek Teslik is still in his 20s for 15 more days and lives in Washington, DC.A few weeks ago Max posted about the "rules of writing." About a week later, Garth revisited David Foster Wallace's essay "Up, Simba!" which was published in the 2005 essay collection Consider the Lobster. "Tense Present: Democracy, English, and the Wars over Usage," another Wallace essay from the same collection, reviews Bryan A. Garner's A Dictionary of Modern American Usage, or at least begins to, before veering into autobiography and the politics of grammar nerds. The crux of the essay, which DFW helpfully announces as such, is that Garner manages to transcend 40 years of infighting in the grammar world by being subtly persuasive rather than overly accepting or overbearingly authoritarian. I'll spare you the extrapolation of this crux onto today's political landscape; for that you can go here and draw your own parallels.I had encountered Garner's work previously without realizing it: Garner is the modern editor of Black's Law Dictionary, required buying, if not reading, for every incoming law student. I entered law school in 2004 after a mostly unsuccessful attempt to become the next Russell Simmons, and dutifully purchased Black's upon arrival. Over the ensuing years, I consulted the book when necessary but gave it little consideration until reading Wallace's essay. To be honest, I have given it little consideration since, but I have spent hours reading, for pleasure and for justification, Garner's Dictionary of Modern American Usage and his Dictionary of Modern Legal Usage.When I arrived for my first day of law firm work this last September, I was surprised to find the Dictionary of Modern Legal Usage on my desk already, next to a few pencils and a legal citation manual. Garner believes that the best lawyers don't write in legalese but in exacting English. I held out hope that first day that the lawyers for whom I'd work would understand this, and for the most part they have. A few so fear splitting any verb phrases that they instead twist their sentences into awkward ambiguous messes. Garner describes this practice, and the refusal to ever split an infinitive, as superstition. I don't think I'll be able to pry these older lawyers out of their comfortable superstitions, but thanks to Garner I can take their "corrections" to my writing with quiet grace knowing that I'm right. Wallace nails in his essay the reasons why Garner's dictionaries are so entertaining and so effective. All I mean to do here is second the endorsement.
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I recently noticed a couple of interesting books about the newspaper biz, and, more specifically, the New York Times. City Room is Arthur Gelb's memoir of his career with the paper. He was there from 1944 to 1999, a career that saw him rise from night copyboy to managing editor. The book is an account of the vast changes in the business over that time, both in process of producing the paper and in the business itself. Over time, manual typewriters and wise guy reporters have given way to laptop computers and media conglomerates; Gelb, however, retains the ability to see the inherent specialness that lies at the center of the "paper of record." Backstory: Inside the Business of News, on the other hand, is a more critical exploration of the news media. Ken Auletta is the media reporter for the New Yorker, and this collection of articles from the last ten years serves to paint a picture of the thorough modernization of mass media. The centerpiece of the book is a profile of Howell Raines the controversial executive editor of the Times who was ousted in the aftermath of the Jayson Blair scandal. I've always enjoyed Auletta's articles, so it would have been nice to see new material from him rather than this collection of previously published material, some of which is no longer extremely relevant.Vintage This and Vintage ThatIf you've been inside a bookstore in the last few days, you may have noticed a display featuring a collection of sleek new books. Vintage, a paperback division of Random House devoted to putting out paperback editions of modern literary fiction, has put out a classy series of "readers" which compile various snippits of work from 12 of the most luminous 20th century writers into individual volumes. The selection of writers is interesting and fairly eclectic (necessarily so, for reasons I will get into shortly). Martin Amis, James Baldwin, Sandra Cisneros, Joan Didion, Richard Ford, Langston Hughes, Barry Lopez, Alice Munro, Haruki Murakami, Vladimir Nabokov, V. S. Naipaul, and Oliver Sacks each have their own attractive little book. Now, there are two schools of thought on this sort of thing. The first is that by pulling easily digestible segments from this or that book you can snare the more cautious, less adventurous reader by offering something that seems less daunting. I can imagine this scenario: cautious reader is a bit intimidated by the idea of picking up a book by Nabokov or Hughes and diving in, but when they see these slim, little Vintage "readers," they think, "Hey, I can handle this, I'll give it a go." After reading a "teaser" chapter from Lolita, our cautious reader is hooked, and everybody is happy. The world has gained a more adventurous reader and Vintage (which is to say Random House) has sold an additional book, Lolita. But don't throw a parade just yet. "Readers" like this, or digests as they are sometimes known, have been around for a very long time, perhaps hundreds of years. Individual books are something of a luxury compared to earlier times, when condensed versions of books and digests were far more affordable than the real thing, in terms of bang for the buck, for the general reading public. Nonetheless, I think there are problems with this particular series, primarily that it is a little too easy to look at these books as "movie trailers" or catalogs with pricetags for other Vintage publications. And, indeed, at just $9.95, these books aren't meant to land on readers' bookshelves, they are meant to sell more books. Even if I try to keep things in perspective, to acknowledge that it is better that they are hawking Didion and Munro and Naipaul rather than the Atkins diet or American Idol, I would still prefer that if someone is going to walk into a bookstore with intention of purchasing a single book (as is so often the case), that they read an entire book by any author at all, whether he or she measures up to James Baldwin or not. I don't know if the inherent "goodness" of the Vintage writers can overcome the sales pitch packaging, which brings me to another point. Though these books are marketed as a collection of the best of the best, the really only represent the best of Vintage books. A reader who is overly devoted to this series will miss countless amazing writers. Finally, there is a predictably PC, overly marketed quality to the whole endeavor: among the twelve, there are two African American writers, two Hispanics, and two non-minority women, and since the folks in editorial feel like they've got their bases covered in that department, the folks in marketing worked up a catchy sales pitch, Vintage this and Vintage that, though it sounds to me like they are selling Vodka, not Murakami.So, thoughts? Am I overreacting? Let me know by pressing the "comments" button below.
"A lot of the book business is timing," editor Buzz Poole remarked Monday night. If that's true, the launch party for CBGB: Decades of Graffiti represented some kind of weird cosmic collision. On one side of a wall, in CB's 313 Gallery, ex-Voidoid (and novelist) Richard Hell, who penned the introduction, held court for friends and book-buyers and for the camera crew that's been following him around for a week. On the other side, in the original CBGB, legendary hardcore act Bad Brains was warming up for a blistering reunion set.Through what Hell calls the "stunning and stunningly effective inertia" of club owner Hilly Kristal, CBGB has lately become a kind of meta-club: both itself and a tribute to itself. This week, Mark Batty Publisher releases a handsome document of the CBGB's densely inked walls; next week, rumor has it, those walls get dismantled and shipped to Vegas, where Kristal plans to reopen the dump. Punk is dead. Long live punk.
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but I hope you don't mind if I post about a couple of things that pertain to, well, me. The first is a fantastic and fantastic looking publication called Two Letters, which contains some very worthwhile writing and art, and for which I was the literary editor. I worked on this when I lived in Los Angeles. The selection process for the art and writing ended just before I moved to Chicago, so I wasn't involved in the production of the book. I had no idea what it would look like until it showed up at my doorstep a couple of weeks ago. It looks terrific - great art and a very distinctive layout. All the writing is illustrated with subtle but expressive line drawings. I am also very happy with the writers I helped select (two of them, Cem and Alexa happen to be bloggers). If you want to pick up a copy visit the website, or, if you are in LA, please consider attending the release party at the venerable Book Soup in West Hollywood. It's on Wednesday, January 26th at 7pm. It will be fun, and I would attend if I could.In other news about me: You may have noticed from my bio on the right that I'm currently a graduate student in the Medill school of Journalism at Northwestern, and today I reached a milestone that I felt I should share (because what else is a blog for, if not for moments like this.) Today, I got my very first byline in a daily newspaper, the Daily Herald. It's a 100,000+ circulation paper that serves the suburbs of Chicago. The story isn't about books. Since I'm studying business writing this quarter, it's a business story. You'll be happy to hear that I was able, if only just barely, to keep myself from nudging the news stand guy and saying, "I'm in this," when I bought the paper today.
Michael Cunningham's Pulitzer-winning novel The Hours was one of the biggest hits of the last ten years, so it's fair to say that his follow-up Specimen Days is being anticipated by many readers. Like The Hours, Specimen Days is composed of three interrelated stories. The title of the novel is borrowed from Walt Whitman's autobiography, and much as Virginia Woolf was the inspiration for The Hours, Whitman provides raw material for Specimen Days. The book gets a gushing review in the New York Observer: Specimen Days is "an extraordinary book, as ambitious as it is generous; and the depth of its kindness, or grace, is to convey that it is we ourselves, the multitude, who are extraordinary, or might be."Another anticipated follow up is Dai Sijie's Mr. Muo's Traveling Couch, which comes on the heels of Sijie's popular novel Balzac and the Little Chinese Seamstress. Traveling Couch (no relation to the Traveling Pants as far as I know) is about a French-trained psychoanalyst who returns to his native China where his sweetheart is a political prisoner. You can read an excerpt of the book here.Terry Gamble has new book out, Good Family, her second novel after her 2003 debut, Water Dancers. Good Family starts like this: "In the years before our grandmother died, when my sister and I wore matching dresses, and the grown-ups, unburdened by conscience, drank gin and smoked; those years before planes made a mockery of distance, and physics a mockery of time; in the years before I knew what it was like to be regarded with hard, needy want, when my family still had its goodness, and I my innocence; in those years before Negroes were blacks, and soldiers went AWOL, and women were given their constrained, abridged liberties, we traveled to Michigan by train."Kaui Hart Hemmings is the author of a debut collection of stories, House of Thieves, that sounds very interesting. Hemmings is Hawaiian, and PW says "a dusty, dreamy Hawaii rife with sexual frustration, loneliness and adolescent heartbreak is the setting for the nine stories of Hemmings's bold debut collection." Her story "The Minor Wars" appeared in the 2004 Best Nonrequired Reading, and here you can read an excerpt of the title story which appeared in Zoetrope: All Story.
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I added several books to the reading queue today. In New York last weekend I found a half price paperback copy of Jon Lee Anderson's Guerrillas: Journeys in the Insurgent World. As you may know, Anderson is a stellar war reporter for the New Yorker. His writing combines thrill and adventure and danger with an unmatched depth of knowledge on the conflicts he covers. Guerrillas collects his reporting on "the mujahedin of Afghanistan, the FMLN of El Salvador, the Karen of Burma, the Polisario of Western Sahara, and a group of young Palestinians fighting against Israel in the Gaza Strip." A few weeks earlier, at Myopic Books, an unbelievably well-stocked used bookstore in Wicker Park, I picked up a couple of late 20th century classics, Ragtime by E.L. Doctorow and Winter's Tale (on Emre's recommendation) by Mark Helprin. I was also lucky enough to receive in the mail from my publisher friends: The Men Who Stare at Goats by Jon Ronson (I'm a big Ronson fan), Rick Moody's upcoming novel The Diviners, and the Booker longlister The People's Act of Love by James Meek, which I'm a quarter of the way through. Recently, I finished the five LBC nominees for the fall, and in the meantime, with the additions of the books listed above, the queue has ballooned to it's largest size yet, 48 titles - so much to read, so little time.
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