Guardian literary editor Robert McCrum has compiled an odd and rather subjective book list, collecting what he describes as “books that still speak volumes about the time in which they were written.” The list contains some obvious entries – we are taught in school that Nineteen Eighty-Four was not just a dystopian fantasy but a stark portrayal of the time’s prevailing years as well as some less well known (to me at least) selections like 1967’s The Naked Ape by Desmond Morris. But the list falls apart somewhat as it approaches the present day with McCrum anointing some of the last decade’s blockbuster bestsellers – Bridget Jones’s Diary, the first Harry Potter, and The Da Vinci Code – and falling prey to the notion that the deluge of press these books have received will amount to something in the eyes of future historians looking to view our time through the lens of literature.
Some weeks my New Yorker shows up on Tuesday; other weeks it doesn’t arrive until the weekend. This week it showed up late, and that’s why I’m writing about it even as it’s being removed from news stands to make way for next week’s issue. But I was glad to finally get to it, especially after noting that it was the summer fiction issue. But it’s not the typical summer fiction issue and certainly doesn’t fit the accepted idea of “Summer Reading.” This issue is about war, and I’m glad that the New Yorker decided to put together an issue like this, since it is shockingly easy – three years after we invaded Iraq – to forget that this country is at war right now. It’s also fitting since we’ve been discussing war quite a bit at The Millions lately. Last month I reviewed An Army at Dawn by Rick Atkinson, which led readers to help me compile lists of World War 2 fiction and nonfiction. Vasily Grossman appeared on both lists, and his story “In Kislovodsk” (not available online) is in this New Yorker. Also contributing is Uwem Akpan with “My Parents’ Bedroom.” Akpan was in last year’s debut fiction issue.But more broadly, the issue is a nice reminder that as life goes on here in the States, war rages on in Iraq. The New Yorker has done this most vividly by providing “Soldiers’ Stories: Letters, e-mails, and journals from the Gulf.” The magazine has also created an audio slide show for the online version of the piece:This week, The New Yorker publishes a selection of letters, journal entries, and personal essays by soldiers, airmen, sailors, and marines who served in the current war in Iraq. The writings are part of a project sponsored by the National Endowment for the Arts called Operation Homecoming. An anthology of the work, edited by the historian Andrew Carroll, will be published this fall by Random House. Here, in an Audio Slide Show produced by Matt Dellinger, five of the servicemen read from their work, accompanied by their photographs.
When you go to journalism school (or start out at most traditional journalism jobs), you are issued a style guide as a soldier might be issued a weapon. Quite a few places have their own in-house style guides, reflecting the vernacular peculiarities of the publication or its region. For all others, the default tends to be the AP Stylebook, a utilitarian volume compiled by the AP and meant to keep all of its reporters’ language consistent. Its influence, of course, has spread far wider.As an avid AP Stylebook owner, I read with interest last month, Editor & Publisher’s account of the changes in the latest edition of the Stylebook. In a way, the AP’s regular shuffling in and out of new words and disused ones is not unlike the exercise played to great PR effect by dictionaries every year. The sometimes silly neologisms added to dictionaries make for easy news bites. Seeing “e-mail” or “LOL” printed on those thin pages seems to inspire amusement, dread, and maybe a little bit of pride. But ultimately it feels inconsequential as we watch our vocabulary race ahead of dictionaries, and dictionaries seem to have minimal influence on how we actually communicate.An adjustment to the AP Stylebook, on the other hand, is a writ-in-stone change to what millions of people will read in publications around the world, and it will further influence the style guides at publications that use their own style guides. Certainly the AP is forced to, as the dictionaries do, catch up to trends in the spoken and written word – according to E&P, “‘WMD,’ ‘iPhone’ and ‘anti-virus’ are in, while ‘barmaid,’ ‘blue blood’ and ‘malarkey’ are out.” – but the authority of the Stylebook would seem to bury the words that are being removed and give birth to those that are added.
Today’s Elliot Spitzer scandal sent me back to the New Yorker archives, to revisit Nick Paumgarten’s excellent profile, from December 10. This time around, I was struck less by the “what you see is what you get” thesis of some Spitzer intimates, than by this proposition, from an unnamed source: “Spitzer lunges. He seems not to be a person of strategy. He slipped on a banana peel, or six, and once down has thrashed around.” It remains to be seen if, amid the thrashing, his newfound talent for “extracting oneself from an intractable position” holds up.
No the Times isn’t getting comics, but they are taking a cue from the New Yorker by adding a graphic novel-type comics section to the Sunday magazine. Everybody’s been saying for years that “graphic novels” are on the cusp of taking the book world by storm. Is this a step in that direction? The first artist to appear will be, you guessed it, Chris Ware. Get the gory details here.