Millions contributor Emily’s award-winning review of The Suspicions of Mr. Whicher: A Shocking Murder and the Undoing of a Great Victorian Detective by Kate Summerscale has been posted by VQR. Check it out.
The Guardian looks at the trend of books by secular skeptics, who take various angles as they pick apart religion. Leading the charge is Richard Dawkins, whose book The God Delusion has become a bestseller if the #3 ranking on Amazon is to be believed. The other books mentioned in the Guardian sport impressive Amazon rankings as well. Letter to a Christian Nation by Sam Harris is ranked #10. Daniel C. Dennett's Breaking the Spell: Religion as a Natural Phenomenon is ranked #227. But Dawkins is undoubtedly the headliner of this trend. For a taste of what he's all about, the curious can read his recent essay at the Huffington Post.The coverage of the Dawkins book has been varied. Publishers Weekly's review expresses alarm at Dawkins' notion that "religion generally is 'nonsense.'"The New York Times (setting aside Levi's complaint) finds Dawkins to be compelling, but over the top in his rhetoric:The book fairly crackles with brio. Yet reading it can feel a little like watching a Michael Moore movie. There is lots of good, hard-hitting stuff about the imbecilities of religious fanatics and frauds of all stripes, but the tone is smug and the logic occasionally sloppy. Dawkins fans accustomed to his elegant prose might be surprised to come across such vulgarisms as "sucking up to God" and "Nur Nurny Nur Nur" (here the author, in a dubious polemical ploy, is imagining his theological adversary as a snotty playground brat).At the Philly Inquirer, Frank Wilson writes that Dawkins' characterization of God and religion "amounts to caricature."Dawkins' rhetorical excesses aside, what interests me more is the larger trend, which, I hope, is representative of a recognition of how much violence in the world, now as ever, is committed in the name of religion. Beyond that, I'm wondering if people have grown weary so much being couched in religious terms these days, the battles over gay marriage, stem cells, and abortion, a president who is doing God's work. It seems to me that a backlash may be building among people who don't want religion's reach to extend quite so far beyond the church, temple and mosque. It also interests me to see how book sales can be an indicator of the broader cultural trends in our country.See Also: HarperCollins Chief Says Religious Books Selling Poorly
In a post last December, I briefly explained why books first come out in hardcover and then, nine to eighteen months later, they come out in cheaper paperback versions. This has become a standard in the book industry, and as a result, some readers, myself included, are leery of books that come out in paperback first without ever being released in a hardcover edition. "What is wrong with this book," I think to myself, "that the publisher didn't want to release it as a hardcover?" At the same time, many readers, including myself, are frustrated that the book industry is so rigid like this, and that it is so expensive to purchase a brand new book. Laura Miller in the Times Sunday Book Review goes over many reasons why the current setup is counter-intuitive, including this one: "riskier books rely heavily on reviews and other media coverage to attract readers, but the reviews appear when the books are new. By the time the books show up as affordable paperbacks, the spotlight has moved on." Miller wonders if the industry's rigid selling strategy might be thawing, and she points to David Mitchell's popular new book Cloud Atlas, recently released as a paperback original, as a sign. Read the column here.
They recently announced the finalists for the 2003 National Book Critics Circle Awards. The winners will be announced on March 4th. I tend to be more interested in "critics circle" awards when it comes to books and movies. Critics have to read or watch many more books or movies than the average person, and it is their job to pass judgment on this sort of thing. It is also important that they are not "insiders" in their respective industries, thus their choices are relatively unsullied by politics and personality conflicts. Nor is anyone really campaigning for these awards as one might campaign for an Oscar, a Pulitzer, or a Booker. Here are the nominees:FictionMonica Ali, Brick Lane (Scribner)Edward P. Jones, The Known World (Amistad/HarperCollins)Caryl Phillips, A Distant Shore (Knopf)Richard Powers, The Time of Our Singing (Farrar, Straus and Giroux)Tobias Wolff, Old School (Knopf)General NonfictionCaroline Alexander, The Bounty: The True Story of the Mutiny on the Bounty (Viking)Anne Applebaum, Gulag: A History (Doubleday)Paul Hendrickson, Sons of Mississippi: A Story of Race and Its Legacy (Knopf)Adrian Nicole LeBlanc, Random Family: Love, Drugs, Trouble, and Coming of Age in the Bronx (Scribner)William T. Vollmann, Rising Up and Rising Down (McSweeney's)Biography/AutobiographyBlake Bailey, A Tragic Honesty: The Life and Work of Richard Yates (Picador)Paul Elie, The Life You Save May Be Your Own: An American Pilgrimage (Farrar, Straus and Giroux)George Marsden, Jonathan Edwards (Yale University Press)Carol Loeb Shloss, Lucia Joyce: To Dance in the Wake (Farrar, Straus and Giroux)William Taubman, Khrushchev: The Man and His Era (Norton)PoetryCarolyn Forche, Blue Hour (HarperCollins)Tony Hoagland, What Narcissism Means to Me (Graywolf)Venus Khoury-Ghata, She Says (Graywolf)Susan Stewart, Columbarium (University of Chicago Press)Mary Szybist, Granted (Alice James Books)CriticismDagoberto Gilb, Gritos (Grove)Nick Hornby, Songbook (McSweeney's)Ross King, Michelangelo and the Pope's Ceiling (Walker)Rebecca Solnit, River of Shadows: Eadweard Muybridge and the Technological Wild West (Viking)Susan Sontag, Regarding the Pain of Others (Farrar, Straus and Giroux)My thoughts: Brick Lane, The Known World, and Gulag continue to make appearances as finalists for major awards. None of the National Book Award winners are even listed as finalists for these awards. McSweeney’s is shown some love for its two most serious and most ambitious releases of the year. Now, if only they would take this as a cue to leave the forced silliness of their other releases behind.