If the Food Issue is the highlight of the New Yorker publishing year, then the Style Issue is certainly the nadir. Crammed full of glossy ads, the too-thick-to-not-be-a-double-issue magazine dwells endlessly on profiles of fashion industry bigshots, all of whom seem to have shared the same eccentric quasi-European upbringing. (They bring to mind Dr. Evil and his famous: “My childhood was typical – summer in Rangoon, luge lessons. In the spring we would make meat helmets. When I was insolent, I was placed in a burlap bag and beaten with reeds. Pretty standard, really.”) And don’t get me started on those Patricia Marx shopping sprees. I do, however, note that Oliver Sacks has an article about amnesia in there, so perhaps it won’t be all bad.
After my brief service was completed I spent a week in Istanbul and returned to New York. In the meanwhile I picked up a collection of Yasar Kemal’s short stories, Sari Sicak, Teneke ve Diger Hikayeler (Yellow Heat, Tin Can and Other Stories) from my parents’ library. I was in between cities and about to quit my job, hence a collection proved perfect for the time. Kemal has a very distinct style that reflects an Anatolian tone and includes long depictions of nature and rural life and lengthy character analyses. The collection included some of his most famous pieces such as “Sari Sicak” (“Yellow Heat”) and “Teneke” (“Tin Can”), which, as do most of the other stories, reflect on the difficulties of rural life in the southern towns and regions surrounding Adana, a city now known for its cotton farmers and back then for its rice plantations. The backwards methods of planting rice resulted in swamps and an increase in the number of mosquitoes, and therefore malaria. Kemal reflects on the ill approach of the government towards the rural population and the generous benefits it granted to landlords, who, without the slightest regard to the peasants, flooded villages, planted rice, created swamps and did not even wince at the death of hundreds of men, women and children due to malaria. Reading Kemal’s stories, the reader easily identifies with the daily troubles of the villagers that believe in a just government and seek help, all to their dismay. Depictions of corrupt and impossible situations reach a new zenith in Kemal’s stories, and, hold true even today – despite the changes in setting. Books by Yasar Kemal.Upon arriving in New York, I received four great books as birthday presents. Joseph Heller’s Catch-22 and Anthony Burgess’ A Clockwork Orange from Sylvia and Noam Chomsky’s Understanding Power: The Indispensable Chomsky and The Best American Magazine Writing 2005 compiled by the American Society of Magazine Editors and published by The Columbia University Press from Selin and Siddhesh. I immediately started reading The Best American Magazine Writing 2005. I am currently reading stories at random and so far I read four out of the seventeen pieces in the collection: Seymour M. Hersch’s “Torture at Abu Ghraib“, Ned Zeman’s “The Man Who Loved Grizzlies”, Andrew Corsello’s “The Wronged Man” and Samantha Power’s Dying in Darfur. I am not sure if I agree one hundred percent with Nicholas Lemann’s assertion that this specific collection comprises the best pieces of writing to come out of the U.S. in 2005, but nevertheless the stories are incredibly well written, insightful and fresh. I enjoyed the ones I read thus far and hope that the rest will be just as good.See also: Part 1, 3
Subscribers to the literary magazine One Story receive, you guessed it, one story in the mail about every three weeks. The magazine isn’t as chic as it could be (the choice of title font, for instance, sometimes makes me cringe), but the issues are lightweight and easy to stuff in your purse or back pocket. The stories vary in style and content, and I’ve been impressed with quite a few. And plus, they’re fun to receive in the mail, and even more fun to give away once you’ve finished them.The magazine recently unveiled a prettier website, which still includes the features I’ve always liked. You can check out the first lines of every story published by the magazine, as well as short interviews with each writer about his or her story and the process of creating it. It’s interesting to see how different everyone’s process is: one writer wrote his story in three nights, while another worked on hers for over a year. In these interviews, One Story always asks the writer to share the best writing advice ever received. Some people quote secondhand advice, while others share nuggets of wisdom from a past instructor. On a few occasions, I’ve written this stuff down, either for myself or for my students (or both).
I haven’t mentioned any art or photography books on The Millions in a while, but the other day a book caught my eye that I thought was worth mentioning. New York Underground: The Anatomy Of A City by Julia Solis is a collection of photographs taken in the myriad of passageways and tunnels that make up New York’s unnamed subterranean sister city. You can have a look at some of the pictures here. If you’re still interested after looking at those, snoop around Dark Passages, where you’ll find lots more photos of New York’s creepy, forgotten places.
Michael J. Arlen’s 1958 humor piece “Are we losing the novel race?” (which can be found in the New Yorker’s anthology of humor writing) starts out thusly: “As if things weren’t bad enough already, word has just reached me that the Russians have recently published a 1,600 page novel.” The amusing little piece, published at the height of Cold War hysteria, spoofs both the nation’s fear of an impending nuclear war and the literary world’s longtime obsession with heft. The Cold War is over now, but people are still fascinated by really big books.The latest really big book is a 1,360 page debut novel called Hunger’s Brides: A Novel of the Baroque by a Canadian named Paul Anderson. An article in the NY Times – which includes this quote from Anderson’s publisher: “I told him, ‘You can’t not go there.’ And that’s how it got longer.” – is dutifully descriptive on the subject of the book’s size: “It weighs 4 pounds, 9 ounces, equivalent to two and a half copies of The Da Vinci Code, and it is thicker than Verizon’s Manhattan telephone directory (either the white or yellow pages).” Luckily, the author seems to have a sense of humor about having published such a, shall we say, weighty book: his official Web site includes a slideshow of “safe reading positions”. And if you’re really curious, there are several excerpts up as well.
There’s an interesting article in the Wall Street Journal about the under-the-radar boost in book sales due to the increasing popularity of home-schooling. According to the article, home-schoolers come in a few different flavors. “The majority of families who home-school are conservative Christians, to be sure. But another sizable portion are secular counterculturalists, and then there are the diplomats, foreign-aid workers or those living in the desert or Alaskan wilderness–anyone far from a school.” But what’s more interesting is what these students have in common as readers: a preference for long books, often parts of a series, consumed with a leisure that public-school curricula don’t allow; an emphasis on narratives, which children like, divorced from contemporary politics, which surely can wait; and a powerful sense that children are major players in the world, the kind of people, perhaps, who deserve better than large classrooms and who may grow up more likely to write books than to be told which ones to read.The most popular series, across the political spectrum, are the Laura Ingalls Wilder Little House books and the books of G.A. Henty.