NY-based readers are invited to “Step Inside the Book” at a reading/party I’m doing this Friday with Alex Rose (The Musical Illusionist) and Alex Itin (Orson Whales). Alex will be working his narrative/surroundsound magic, Other Alex will be screening his multimedia books, and I’ll be showing art and reading fiction from A Field Guide to the North American Family. Drinks are on the house, I’m told, so if you’re free, stop by the Lower Manhattan Cultural Council’s Swing Space, at 125 Maiden Lane, between 7 and 9 p.m. We now return to our regularly scheduled programming…
Over the last year it seems that Spencer Reece has become the poet laureate of The Millions, mostly because his poem in last summer’s new fiction issue of the New Yorker was so amazing. Now, finally, his first collection of poetry, named after that poem I loved, The Clerk’s Tale, has been released. I’ve got my copy on order and I can’t wait to get it. While I’m waiting, I’ve been reading this interview with Reece.A NoteFrom the book I’m reading right now: “For it is certainly true that negligence in ladies destroys shame in their maids.”
This weekend, hurtling toward the conclusion of Charles Dickens’ Little Dorrit, I took a pit-stop to thumb through Edgar Johnson’s biography of the author. I was curious to see what had triggered Dickens’ transformation from the showman of the early novels to the architect of the series of dizzying edifices that began with Dombey and Son. I didn’t find the answer I was looking for. I did, however, discover the wonderful fact that Dickens was the victim of plagiarists, who during his lifetime published knockoffs like David Copperful, Nikelas Nickelbery, The Posthumous Papers of the Pickwickians, and – my favorite – Oliver Twiss.You may recall that a couple of years ago, there were newspaper reports about Chinese J.K. Rowling manqués, who authored such blockbusters as Harry Potter and Beaker and Burn and Harry Potter and the Filler of Big. Apparently, this was no late-capitalist aberration, but part of a venerable literary tradition. I’m now wondering what might happen if some Millions favorites were plagiarized. The Corruptions? Jilliad? Shabbat’s Theatre? The Amazing Adventurousness of Caviller and Quai? The Short Wonderful Life of Oskar Wow? Your suggestions are welcome below.
Some media pundits suggest that, as the new owner of the Wall Street Journal, Rupert Murdoch has set his sights on taking down the New York Times, or at least giving the paper a run for its money. So it was with no doubt some glee that the Times was able to report that the WSJ is a bit more thin skinned than Murdoch would have you believe.The Times yesterday reported on a parody of the WSJ, My Wall Street Journal, created by Tony Hendra and with contributions from Andy Borowitz, Richard Belzer and Terry Jones. Apparently, the WSJ wasn’t too keen on the tabloid format send-up and actually sent people around the city trying to snatch up copies before they landed in the hands of the general public. Or as the Times cheekily put it: “It seems someone at The Wall Street Journal really likes a biting new parody of the paper – likes it enough, in fact, to leave at least one newsstand with no copies remaining for anyone else to buy.”Media spat aside, it is also interesting to see an attempt at a one-off publication like this, particularly in the age of the internet. Fishbowl NY explained the business model:The goal is to break even and, ideally, make money on the printing. “The business model is pretty simple, Hendra says. “Sell a lot of them.” Manhattan Media will be “well into break even territory” if half of the 200,000 available on newsstands are sold (an additional 50,000 will be sold in bookstores). At $3.95 per paper, the company will gain almost $1 million in revenue – an amount Murdoch “loses on the New York Post before lunch,” Hendra jokes – if the print run sells out.They are even available at Amazon, sold as a “Single Issue Magazine.”
At the Powells blog, Alexis writes about the awkward transition young readers make from young adult fiction to regular fiction.When the children are still young – toddlers to fifth grade, say – parents will sometimes make a point of telling us how advanced their kids are. It might go something like this: She’s only two but she’s way beyond board books; or, He’s in fourth grade but he reads at a seventh grade level. But get the kids to junior high, and suddenly the parents start to fret that their intellectually advanced kids are going to be reading books that contain “mature” content.I definitely remember this experience from my bookstores, even in permissive Los Angeles. Later on Alexis writes:That said, I often wish that I could recommend more adult books to some of my teen customers. Nothing is stopping me, I suppose, except my own anxieties about parents flipping out that a Powell’s employee exposed their high school freshman to Margaret Atwood’s sexual dystopia.When I was a teenager, discovering Kurt Vonnegut, John Irving and T.C. Boyle was a revelatory experience, and I’d certainly recommend books by them to today’s teenagers. I’ve also said in the past that classic novels can be a great bridge from young adult novels to adult novels. Sometimes, when I worked at the bookstore, I would recommend classics to precocious youngsters who had read “all” the young adult stuff. In this post from last summer, I and a few others put together a very short list of classics that kids might start with.Some might say that kids won’t be willing to read these “old” books that they associate with school, but it’s also true that kids can get a lot more out of a book they read for fun rather than for school, even if it’s the same book.
I have an article in the newest issue of Poets & Writers. It’s about the publishing industry’s recent interest in doing business in China and in bringing Chinese writers to the rest of the world.Not unlike European explorers five hundred years ago, the U.S. publishing industry is looking for a route to China. And, like those explorers, each company seems to be setting a different course. HarperCollins recently partnered with a Chinese publisher and plans to release new and classic Chinese books in English translation in the United States, the U.K., and China. Penguin has also secured a local publishing partner and is already offering Chinese readers ten of its Penguin Classics in Mandarin – and it has an open-ended plan to bring out more. At the same time, Penguin has stepped up its efforts to release more Chinese literature in translation in Western markets. Macmillan, meanwhile, has started a new publishing division, Picador Asia, based in Hong Kong.