Like we did last year, we’re going to have a little fun comparing the U.S. and U.K. book cover designs of this year’s Rooster contenders. Book cover design is a strange exercise in which one attempts to distill iconic imagery from hundreds of pages of text. Engaging the audience is the name of the game here. and it’s interesting to see how the different audiences and sensibilities on either side of the Atlantic can result in very different looks. The American covers are on the left, and clicking through takes you to a larger image. Your equally inexpert analysis is encouraged in the comments.
If you're like me, you keep a list of books you read, and at this time of year, you may run your finger back over it, remembering not just the plots, the soul-lifting favorites, and the drudges cast aside in frustration. You also remember the when and where of each book. This one on a plane to somewhere cold, that one in bed on a warm summer night. That list, even if it is just titles and authors and nothing more, is a diary in layers. Your days, other plots, imaginary people. And so when, in preparing our annual Year in Reading series, we ask our esteemed guests to tell us about the "best" book(s) they read all year, we do it not just because we want a great book recommendation from someone we admire (we do) and certainly not because we want to cobble together some unwieldy Top 100 of 2011 list (we don't). We do it because we want a peek into that diary. And in the responses we learn how anything from a 300-year-old work to last summer's bestseller reached out and insinuated itself into a life outside those pages. With this in mind, for an eighth year, we asked some of our favorite writers, thinkers, and readers to look back, reflect, and share. Their charge was to name, from all the books they read this year, the one(s) that meant the most to them, regardless of publication date. Grouped together, these ruminations, cheers, squibs, and essays will be a chronicle of reading and good books from every era. We hope you find in them seeds that will help make your year in reading in 2012 a fruitful one. As we have in prior years, the names of our 2011 "Year in Reading" contributors will be unveiled one at a time throughout the month as we post their contributions. You can bookmark this post and follow the series from here, or load up the main page for more new Year in Reading posts appearing at the top every day, or you can subscribe to our RSS feed and follow along in your favorite feed reader. Stephen Dodson, coauthor of Uglier Than a Monkey’s Armpit, proprietor of Languagehat. Jennifer Egan, author of A Visit from the Goon Squad. Ben Marcus, author of The Flame Aphabet. Eleanor Henderson, author of Ten Thousand Saints. Colum McCann, author of Let the Great World Spin. Nick Moran, The Millions intern. Dan Kois, senior editor at Slate. John Williams, founding editor of The Second Pass. Michael Bourne, staff writer at The Millions. Michael Schaub, book critic for NPR.org. Scott Esposito, coauthor of Lady Chatterley's Brother, proprietor of Conversational Reading. Hannah Pittard, author of The Fates Will Find Their Way. Benjamin Hale, author of The Evolution of Bruno Littlemore. Geoff Dyer, author of Otherwise Known as the Human Condition. Chad Harbach, author of The Art of Fielding. Deborah Eisenberg, author of Collected Stories. Duff McKagan, author of It's So Easy: And Other Lies, former bassist for Guns N' Roses. Nathan Englander, author of For the Relief of Unbearable Urges. Amy Waldman, author of The Submission. Charles Baxter, author of Gryphon: New and Selected Stories. David Bezmozgis, author of The Free World. Emma Straub, author of Other People We Married. Adam Ross, author of Ladies and Gentlemen. Philip Levine, Poet Laureate of the United States. Mayim Bialik, actress, author of Beyond the Sling. Hamilton Leithauser, lead singer of The Walkmen. Chris Baio, bassist for Vampire Weekend. Bill Morris, staff writer at The Millions. Rosecrans Baldwin, author of You Lost Me There. Carolyn Kellogg, staff writer at the LA Times. Mark O'Connell, staff writer at The Millions. Emily M. Keeler, Tumblrer at The Millions, books editor at The New Inquiry. Edan Lepucki, staff writer at The Millions, author of If You're Not Yet Like Me. Jami Attenberg, author of The Melting Season. Dennis Cooper, author of The Marbled Swarm. Alex Ross, author of Listen to This, New Yorker music critic. Mona Simpson, author of My Hollywood. Yaşar Kemal, author of They Burn the Thistles. Siddhartha Deb, author of The Beautiful and The Damned: A Portrait of the New India. David Vann, author of Legend of a Suicide. Jonathan Safran Foer, author of Extremely Loud and Incredibly Close. Edie Meidav, author of Lola, California. Ward Farnsworth, author of Farnsworth's Classical English Rhetoric. Daniel Orozco, author of Orientation and Other Stories. Hannah Nordhaus, author of The Beekeeper's Lament. Brad Listi, founder of The Nervous Breakdown. Alex Shakar, author of Luminarium. Denise Mina, author of The End of the Wasp Season. Christopher Boucher, author of How to Keep Your Volkswagen Alive. Parul Sehgal, books editor at NPR.org. Patrick Brown, staff writer at The Millions. Jacob Lambert, freelance writer, columnist, contributor to The Millions. Emily St. John Mandel, author of Last Night in Montreal, staff writer at The Millions. Kevin Hartnett, staff writer for The Millions. Garth Risk Hallberg, author of A Field Guide to the North American Family, staff writer at The Millions. Jeff Martin, author of The Late American Novel. Jane Alison, author of The Sisters Antipodes. Matthew Gallaway, author of The Metropolis Case. Nuruddin Farah, author of Crossbones. Natasha Wimmer, translator of The Third Reich. Jean-Christophe Vatlat, author of Aurorarama. Kevin Brockmeier, author of The Illumination. Brooke Hauser, author of The New Kids: Big Dreams and Brave Journeys at a High School for Immigrant Teens. Belinda McKeon, author of Solace. Ellis Avery, author of The Teahouse Fire. Buzz Poole, author of Madonna of the Toast. A.N. Devers, editor of Writers' Houses. Mark Bibbins, author of The Dance of No Hard Feelings. Elissa Schappell, author of Blueprints for Building Better Girls. Rachel Syme, NPR contributor. A Year in Reading Wrap Up Don't miss: A Year in Reading 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, The Millions on Twitter, Facebook, Tumblr. Year in Reading Graphics by LK Magee
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1. Once upon a time, I would not even consider quitting a book mid-read. Reading a book was not unlike a monogamous human relationship in that sense; it involved conscious commitment, and fidelity: Book, I’m going to read you. Over the years, this has changed. Recently it struck me that the list of books I’ve started and not finished has grown quite formidable. I ask myself what this “means,” if it reflects some kind of moral devolution. It’s interesting how there does seem to be a kind of morality of reading, and people express their reading values quite passionately. One of my favorite Millions Quizzes was "The Glaring Gap," a post in which regular contributors confessed which Great Books / Great Authors they’ve never read. One contributor shared that she consciously chose not to read a certain category of male writers, and the comments came a-flying: oh, but you “should” read those! Should should should. Even the word “confess” implies sheepishness, shame and guilt. I know, I know, I should read (and love) Proust! And Dickens! And Virginia Woolf! And (these days) Bolaño! My commitment to finishing books in the past was probably related to the above – fear of ensuing guilt and shame. Failure, too, I suppose. And perhaps at this point in my reading life, I’ve finished (and more than that, really ingested into my mind and emotions) enough books so that I feel a little freer in exercising the right to choose how to invest my reading time and energy; to veer from the Canonical Path – if such a thing actually exists anymore – and forge my own highly specific map of literary experience and influence. I’m not getting any younger, after all. Fifteen hours – the average it takes to read a book (and I tend to be on the slow side of this average) – is an increasingly precious chunk of time. Professional book reviewers, you have my sympathies. 2. My list of Unfinished Books breaks down into a few categories. Perusing my list – from the last 3 or 4 years – reminds me that the convergence between book and reader is so specific; of-the-moment; contextual. For me, abandoning a book often has little to do with the book’s “objective quality,” and much more to do with the nature of my reading appetite at that moment. As a writer, there are books that you need during certain seasons of your own work, and others that must be held at bay, for the time being, or perhaps, but hopefully not, forever (oh, how the Bitch Goddess Time precludes so many returns to books we’d like to try again): Books I Did Not Finish But Very Much Want to Try Again The Children’s Book by A.S. Byatt 2666 by Roberto Bolano Remembrance of Things Past by Marcel Proust The Magic Mountain by Thomas Mann (out of reverence for Susan Sontag) The Moviegoer by Walker Percy The Essential Kierkegaard The Night Watch by Sarah Waters Eugene Onegin by Pushkin 3. Then there are the books that you feel you “should” like -- you’ve adored this writer’s other books, your most trusted reader-friend recommended it, etc. – and you can’t figure out what the disconnect is. You’ve tried and tried again, 50 pages, 75 pages, 120 pages, but for whatever reason… it’s like the blind date that looks perfect “on paper,” but the chemistry never happens: Books That I’ve Already Tried More Than Once But Couldn’t Engage With, I Don’t Know Why Tree of Smoke by Denis Johnson The Inheritance of Loss by Kiran Desai The Book of Daniel and City of God by E.L. Doctorow (I am a Doctorow acolyte, these were particularly painful to abandon) Ethan Frome by Edith Wharton Sons and Lovers by D.H. Lawrence (I loved Women in Love so much) 4. It’s not that often that I really toss a book away and wipe my hands of it. And I know the following books are critically acclaimed and/or beloved by many. What can I say… Books That I Found Mostly Painful and Likely Will Not Revisit American Pastoral by Philip Roth The Book Thief by Marcus Zusak Middlesex by Jeffrey Eugenides Portrait of the Artist as a Young Man by James Joyce Twilight by Stephenie Meyer 5. The following category speaks for itself: Books Written By Friends/Acquaintances That I May Have Been Destined Not to Like in the First Place, But Gave Them a Try For Friendship’s Sake I won’t be listing these, for obvious reasons. There aren't many, but it’s an awkward thing for all of us; and I never imagine that a person who knows and supports me will necessarily like my fiction. 6. Now, onto books that I’ve nearly abandoned or considered abandoning, but actually finished. “Should” is generally a battle between instinct and logic, id and superego. An allegory of sorts: when I was in high school, I was moderately athletic, but in a limited way; I ended up as a quintessential starting JV player on all my teams, never quite attaining to Varsity level. But one year, my senior year, I thought that I really “should” push myself, to get to that next level, to pursue some kind of fullness of achievement; even though I was enjoying perfectly all the playing time I was getting and never considered athleticism a central part of my identity. So I went out for Varsity, just barely made the team, and spent the rest of the season miserably subjecting myself to the coach’s masochistic training drills and sitting on the bench during games. I had thought that if I pushed myself, it would be “worth it” in some spiritual-existential way. It absolutely was not. I think about that experience often, and the metaphor pertains to the following list: Shlogged Through and Almost Abandoned, But Kept On; No Pay-off, I Felt, In the End The Accidental by Ali Smith Telex From Cuba by Rachel Kushner Sweetwater by Roxana Robinson Enduring Love by Ian McEwan The Corrections by Jonathan Franzen The Unconsoled by Kazuo Ishiguro Run by Ann Patchett 7. This final list is perhaps most significant, in terms of our moral quandary. This list keeps me from indulging appetite exclusively, from missing out on the pleasures of a difficult, not-immediately-or-obviously-gratifying read. I can’t imagine not having read these books; abandoning any one of them permanently really would have been a crying shame. In particular, Tim O’Brien’s In the Lake of the Woods was an odd, and revelatory experience. I found the first 40 pages brilliant and alive and ground-shifting in that all-cylinders-firing way; then I found the next almost-150 pages tedious, repetitive, gimmicky; almost unbearable. Book, I’m going to quit you, I remember consciously thinking. But something made me pick it up again – all the acclaim, the voices of smart reader-friends in my head, my long-standing admiration of The Things They Carried; and also, I like to think, something more mysterious, my personal book fairy, who nudges me from category 3 above to this one, guiding and protecting me from tragically missed literary connections. So then, my God, those last 75 pages or so of In the Lake of the Woods - how it all comes together and wrecks you, shows you all the work that the previous 150 pages was doing. This is the novel that always pokes into my consciousness when I am considering quitting a book; but maybe this one will be another O’Brien miracle. Struggled Through, Maybe Put Down For a While, But Finished and Am Very Glad I Did In the Lake of the Woods by Tim O’Brien Love in the Time of Cholera by Gabriel Garcia Marquez To the Lighthouse by Virginia Woolf The Names by Don Delillo A Defense of Ardor: Essays by Adam Zagajewksi The Blue Flower by Penelope Fitzgerald I can imagine a day when the proportions of these lists begin to shift. If you’re like me – neither young nor old – you feel a pressure, like every reading minute counts, in a way that you don’t feel as much when you’re younger, and perhaps I won’t feel in quite the same way when I am older. I have no way of knowing, really, if category 3 (or even category 4), past, present or future, actually contains The One That Got Away, the book that may have changed my life. To the books and writers that I’ve broken up with, I truly am sorry it didn’t work out; it is always at least a little bit true that it’s not you, it’s me.
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A week ago, an article in the New York Times created a mini-furor in literary circles. As the resident Japan expert in my circle of friends, everybody was asking me, "So what's the deal with these cell phone novels?"The NYT article was the first I'd heard of them. I did a quick Internet search, and what do you know? The Times was right, they're all over the place. Google spits ups thousands of pages, and several of the more popular novels are listed on the Internet Movie Database as films in production.What does this mean for the English novel? Is this the future of literature? In Japanese, maybe. There are a number of features of Japan's language and culture that make a cell phone novel more palatable than it would be in English. First, Japanese grammar is much better suited than English to the kind of short sentences writing on a cell phone encourages. As a high-context language, a complete sentence in Japanese can consist of just a single, lonely verb. Japanese speakers and writers frequently and freely omit subjects and objects from their sentences, expecting the reader to figure out what's going on. Go figure. The use of Chinese characters also serves to compact sentences. Since you don't have to actually spell out entire words, as in English, but can represent them with an ideogram, you can say a lot more in a much smaller space.Secondly, and perhaps just as important, cell phone novels tap into long traditions of Japanese prose and poetry. First, even a cursory examination of a cell phone novel will show a visual connection to the poetic traditions of haiku and tanka. The connection doesn't end there, at its best the writing itself has an economy and - I'll regret saying this - poetry that taps into the same tradition. The medium - you try typing a novel on the keypad of a cell phone - forces the writers to make every word count, and (in Japanese at least) it shows. The themes, as well, harken back to traditional Japanese themes. The first "modern" novel (written by Murasaki Shikibu in 11th century Japan), The Tale of Genji, was basically a high school love story, and nothing has changed since then. In manga, on television and in literature, the amatory exploits of high school students have always captured the imagination of the Japanese public. And the long, long literary tradition there, combined with the frequent use of public transportation, means that books in general, whether written on cell phones or not, occupy a much more important place in Japanese culture than in the West.So what are these cell phone novels like? For the curious, I've translated a short passage from Sky of Love, the number one best seller by Mika, recently made into a movie. I've only read the first chapter, but apparently it's a heart wrenching tale of young love, as seen through a Jerry Springer filter of premarital sex, teen pregnancy, gang rape and mortal disease. Enjoy.Translation note: Two things. First, I've done my best to preserve the sentence structure and formatting of the original (at the expense of clarity and good prose, I'm afraid). This is more or less how it looks and reads in the original Japanese. Second, it's common in Japanese for people to refer to themselves in the third person. The protagonist here does that frequently. It's a habit that's considered somewhat childish and endearing.Sky of Love (the novel in Japanese, for those who'd like a visual reference.)PrologueIf I hadn't met you that day...I don't think I would haveFelt this bitterness.This pain.This sadnessCried this much.But.If I hadn't met you...This happiness.This joy.This love.This warmth.I wouldn't have known that either.Today, I'm going to look through my tears and up at the sky.Look to the sky.Chapter One- A smile"God, I am so hungry♪♪"Finally lunch time. Felt like I'd been waiting forever.Same as always, Mika puther lunchbox on her desk and opened it.School is a drag.The only thing I like about it is eating with Aya and Yuka, my friends from class.--Mika Tahara--She's a freshman, who started at this school in April.It hasn't even been three monthssince she got here.She's met some people she likes and gets along with. She's had some pretty good times.She's short.And stupid.And not that prettyDoesn't have any special talents.Or even know what's she wants to do with herself after graduation.Bright, tea-colored hair she dyed right after she got here.She's wearing a little makeup, but it looks strange on her, especially at this time of day.She stumbled out of middle school and right into average.She had normal friends.She had normal crushes.She dated three guys.I don't know if that's normal, or what.But, what I know is normal,is that those relationships all ended fast. That's what she's saying.She doesn't know real love.All she knows is how to fool around,Just that.Love...Who needs it?It was right then...I met you.Mika's life: she expected it would end in the same boring way it had begun. Meeting you was going to change all that.Like always, Mika and Aya and Yukawolf down their food.Why is it everyone gets so quiet when they eat?The classroom door rattles open,A guy with one hand in his pocketwalks overto the three of them.That guy, he stands in front of themAnd he starts talking. Casually."Hey! My name's Nozomu. I'm in the class next door. You heard of me?"The three girls look at each other.They pretend they don't know what he's talking about.Just keep eating their lunches.Since I'd gotten to school, I'd heard a lot of rumors about Nozomu.A player.A flirt.A playboyIt seemed like he was walking around schoolwith a different girl on his arm every day."Watch out for Nozomu!""If he's got his eye on you, you don't stand a chance."Didn't somebody tell me that...?He's got a well-proportioned faceon a tall body.Highlights in his hair,styled with wax for that "casual" look.Eyes looking right at you, like they could see... something.He's got the right stuff for getting girls. There's no question about that.The problem is his personality.Maybe... if he was a little more serious...With all those rumors floating around. I don't even need to tell you I'm not interested.The three girls continue eating their lunches, pretending they haven't even noticed him."Hey, now. You're ignoring me? Let's be friends. ♪ Come on, give me your number."His insistence makes me thirsty.Mika, annoyed, grabbing a bottle of barley tea in one handgulping it all down."What do you think I'm going to do? It's cool. Just tell me your number."There's silenceSuddenly, Aya breaks it.Mika and Yuka, looking at each other in disbelief.Aya gives him her number with a smile.It's hard to believe this is happening.I wait until Nozomu has left the room, all puffed up and full of himself. Then turning to Aya, blurting out:"Why would you give your number to a guy like that? He's trouble."Aya responds to Mika's worry, like it's no big deal."What can I say? I like cute guys. Ha."Aya's a mature, beautiful woman.She's stylish and her best feature isher long hair, a little wavy, and the red-brown of tea.She's got bad luck with guys. All the ones she's dated are just playing with her...That's why, even when she gets a boyfriend, it's just a few dates, quick break-up, repeat."Aya. Don't get serious with a guy like that."To Yuka, with the serious faceAya turns and lightly replies."Don't worry about it."School lets out.I go home, and lay around in my room, watching TV.That's when...♪Ring♪The ring echoes through the room.There's no name on the caller id.It's from a number that's not in my phone.I wonder who it is...I pick-up to find out."Hello...?""..."... silence."Hellooo..."I say it with a little more self-assurance.Click.Beep, beep, beep.They hung up.Prank call?Probably a wrong number.♪Ring♪Again, the ring echoes through the room.The same number as before.They're not going to say anything anyway, I think.So, I answer like I don't give a shit."What?""...lo? Hello. Hello?"On the other end of the line, I can faintly hearthe sound of an unfamiliar man's voice."Who is this?"The guy on the other endshouts in a voice so loud I think it's going to blow out my eardrum."...Mika? The signal's bad! It's Nozomu! You remember? The guy who talked to you at lunch today!"WTF? Nozomu?The Nozomu who hits on all the girls? That Nozomu?The guy who got Aya's number today... That Nozomu?I start to panic.I can't findthe words to reply.I should just hang up. Shouldn't I?
1. Behind my desk, in my bedroom, there is a large bookcase divided into 25 cubes. On the wall facing my desk there are three bookshelves. Instead of a table, there is also a shelf at my bedside. Beside my desk is an additional bookcase, the Billy model from Ikea, with six shelves. All this shelf space amounts to about 56 feet. I have turned my attention to my bookshelves and not what stand on them because I am reorganizing my personal library. I need to know how much space I have for my books, in order to accommodate the existing space for a logical, efficacious, and personalized classification system for the books I own, which currently amount to just short of 500 volumes. My endeavor, of course, is not a very great one. I do have a considerable number of books, but by no means is my collection large or unwieldy. I’m only 20, and as such my library is not a lifetime’s library — it is only the nucleus of a true library, with burgeoning interests, mistakes, discoveries, a few treasures, and several shortcomings. As for the organization of the books, well, I must say that in its current state the classification is far from optimal. Most of last semester's books are still on the shelf above my desk and deserve integration with the rest of my collection, instead of groupings by course reading material. My French books are all together in the Billy bookcase, which results in separating the Penguin edition of Chekhov’s Ward No. 6 and Other Stories, 1892-1895 from the French translation of Chekhov’s (or, as it were, Tchekhov’s) plays, published by Folio in two paperback volumes. Similarly, the current state of my books creates rifts between ideas and eras, or tensions where there shouldn’t be any. For instance my enormous paperback of Allen Ginsberg’s Collected Poems lies on a shelf above my desk because I was too lazy to make room for it in the cubes. Thus Ginsberg is a room apart from his friend Kerouac (if their belonging to the Beats shouldn’t be enough to bring them together, Ginsberg even took the pictures on the cover of On the Road, which I think calls for neighboring spots on my shelves). In the cubes there are other inconsistencies: Junot Díaz is between the single volume Chronicles of Narnia and Anne Michaels; Hemingway shares his shelf with Amitav Ghosh, Toni Morrison, and Nabokov — I can’t think of any reason why those authors should rub covers. Likewise, when I see Eco’s The Name of the Rose on one shelf and his collection of essays On Literature on the opposite wall, I know it is time to take all the books out, dust off the shelves, and start again from scratch. 2. The first step in reorganizing my personal library is finding a system. Of this, there are many, some more improvised than others. In his bible of bibliomania, The Library at Night, Alberto Manguel explores the different facets of the library, and also the different ways to organize books. For his own collection of 30,000 books, which he keeps in his château in France, Manguel has chosen to divide his books by language, and then place them alphabetically. Rather drab for me, I think, considering the small size of my own book collection. Some book collectors have been more original. Take Samuel Pepys for instance, the great 17th century diarist, who maintained a personal library (which still exists) of 3,000 books exactly, not a volume more. What is, perhaps, the most astounding feature of Pepys’ library is the way in which the books were organized: by size. All his volumes were numbered from 1 to 3,000, from smallest to biggest, and placed in that order in his bookcases, each volume bound in matching leather, and each book resting on a little wooden stilt matching the cover, to create unity in height — gentlemanly elegance. What may be acknowledged about any organizational system is that they all have certain limitations. Even the Dewey Decimal System, used by the majority of public libraries in the world — which divides human knowledge into ten decimals, in turn subdivided into ten categories, and so on — is limited when it comes to books with split subjects (take the excellent Time Among the Maya, by Ronald Wright, which is part travel journal in Mesoamerica, part history book on the Mayas). But I am looking for a more intuitive organizational system, something flexible and creative. An article in The Guardian’s online book section discussed “bookshelf etiquette,” organizational systems like grouping books by theme or color. One of the propositions was to place books together by potential for their authors to be friends. I choose a different path: all of an author’s books are together (no matter the language), authors that go well together go together, other books are placed by association of genre or style. I will start with that in mind, and see where it brings me. 3. I remove books from my shelves. I grab multiple spines between my thumb and fingers, slide out the volumes and pile them on my desk, on the floor — soon my room is like a messy cave of paper and multicolored covers and spines. The wall behind my desk is bland, covered in empty cubes, spacious and clean. I am reminded of a time, not so long ago, when my entire book collection did not even fit on the six shelves of a Billy bookcase. As I take the books out of their bookcases, crack open a few to see if the words inside still have the same ring, and admire the beauty of some covers, I start to understand that there are some books I do no want anymore. There is a vital difference between books you do not need and books you no longer want to have. I would willingly keep a book I hated if it had a nice cover (and I do, like Kazuo Ishiguro’s Nocturnes, a silly collection of short stories with a stunning, elegant cover). The books I am ready to give away are books I don’t care about: they are ugly, I have had them for too long, I have never read them and never will — they simply become a waste of space. Take How to Read Novels Like a Professor, a paperback I bought a couple of years ago, in an attempt to uncover some of literature’s secrets before entering University. I drop the book with the other giveaways. A few days later I pick it up again and this passage catches my attention: “Books lead to books, ideas to ideas. You can wear out a hundred hammocks and never reach the end. And that’s the good news.” I certainly agree with that. No English major would be supposed to be caught dead with such a preposterously titled book in their library, and maybe that’s the reason why I wanted to give it away in the first place. I decide to keep it in my collection after all — for now. In the end I’ve put aside two dozen books in the giveaway pile. By no means am I kidding myself that I’m actually getting rid of a large chunk of my library. I admire people who are able to rid themselves of books they love, give books away selflessly so that others can enjoy them. I know I could never do such a thing. 4. I admit, with a hint of guilt, that I have not read all the books I own. Not even close. The majority of them, yes (I hope), but far from all of them. Despite the incredible amount of reading left for me to do before I really know my library, almost every week I buy more books. Part of the problem lies in my appreciation for books as objects, as elegant collectibles. I like not only to read them, but to look at them, touch them. Larry McMurtry has phrased it rather elegantly in his memoir, titled simply, Books: But there can be secondary and tertiary reasons for wanting a particular book. One is the pleasure of holding the physical book itself: savoring the type, the binding, the book’s feel and heft. All these things can be enjoyed apart from literature, which some, but not all, books contain. While I have shelves full of books I have not read at home, I keep on thinking about which books I’m going to buy next. Although minor, this problem does create a fair amount of anxiety, essentially caused by the fact that I simply don’t read enough. Furthermore, as I reorganize my books I realize there are many I would like to reread soon. (At the top of my list: The Brief Wondrous Life of Oscar Wao, Too Much Happiness by Alice Munro, Harry Potter and the Deathly Hallows…) Sometimes I wish I were that man in the Twilight Zone episode who finds himself in the ruins of a public library, with lots of food and all the time in the world to read all the books he wants. 5. My library is also the most personal of filing systems, with countless mementos flattened between the covers of the books. There is a card from a blood-drive marking a page in Greenblatt’s biography of Shakespeare, reminding me of when I can give blood again. I slam away the congratulations card from the English department of my college which awarded me a prize in Shakespeare studies (oddly, the quote on the card is by Anaïs Nin) in the bard’s complete works (leatherbound, gold page edges). A business card from the Winding Staircase, a charming Dublin bookstore, falls out of De Niro’s Game, which I read in Ireland. Between my Oscar Wildes I find a touching card from my parents, given to me when I turned 18. I choose a better place for it: between the pages of a book on self-fashioning in the Renaissance they bought for me at Shakespeare and Company, in Paris, a place I have only been to in my dreams. 6. I have finally emptied all my shelves. It was long — and tedious. Not in the physical sense, but in one that is, of sorts, moral. Removing all those books was the undoing of something that was set, a collection which, it seems, had built itself up, slowly, purposefully, into a cohesive whole. The work of an oyster. After the toil of the unmaking, now I have to rebuild my library up — restock the shelves that now stand cleared, poised, filled only with light and shadows. After some consideration, the first book I place back on the top left cube, is Beowulf, masterfully translated by Seamus Heaney, the beginning of literature in English. I have to rifle down the spines of a few piles before I finally locate it. Next up goes Tolkien. I cannot resist — without him I’m not sure Beowulf would even be taught in schools at all. His translation of Sir Gawain and the Green Knight, first, to soften the transition, and then The Hobbit, The Lord of the Rings, Tree and Leaf, and The Children of Hurin. Then I place Herodotus, whom my girlfriend assures me thinks exactly like Tolkien. I am startled by my audacity. There is a jump from 10th century Anglo-Saxon manuscript to 20th Century fantasy writer to the father of history, a fifth-century Greek — my system is either creative or blasphemous. 7. My girlfriend came to help me. Her presence was motivating — I have done more work in half an hour than in the last week. The Canterbury Tales are inserted between Beowulf and Tolkien by her recommendation, I add Peter Ackroyd’s The Clerkenwell Tales beside it. A cube inspired by military history starts with Thucydides and ends with a biography on George Washington — yet George Orwell, Alan Moore, and Annie Proulx all end up on it by association. From the look in my girlfriend’s eyes I know she thinks this is starting to look like a madman’s library. Nothing new there, bibliomania is a psychological disorder, I am told. Putting Sylvia Plath with her husband Ted Hughes feels wrong, so we try to find a new lover for her. I think of Byron as a joke, my girlfriend proposes Mary Shelley as a fellow tortured female writer. The offer is accepted and Plath serves as transition into gothic fiction. Ironically, Byron ends up just after Shelley anyway (they shared more than shelf-space in their lives, after all), and before Polidori and Stoker. Books start to place themselves on their own. There is a cube for my books about books: Anne Fadiman and Manguel, Borges (which I can no longer dissociate from the latter), 501 Must-Read Books, A Gentle Madness, The Companionship of Books, and others go here. There is a cube, or half of it, at least, for Faber friends: Eliot, Hughes, Graham Swift, Kazuo Ishiguro. Edgy writers (Bukowski, Tony O’Neill, Mark SaFranco, Writing at the Edge) share their cube with erotic fiction (The Gates of Paradise, Delta of Venus, the Marquis de Sade, Wetlands by Charlotte Roche, La vie sexuelle de Catherine M.) — Neil Strauss buffers between them. I go on like this, a few minutes every day. Slowly, surely, books leave my floor, my desk, my bed, my bathroom, and regain their place on the shelves in some kind of order. Some associations are obvious — others, not so much. 8. Finally the cubes are filled again. I can breathe a bit more in my bedroom. I enjoy looking at the neat rows of spines, follow the literary path of my own twisted organization system. Still, there are many flaws on my shelves, mainly caused by lack of room (or perhaps because the number of books is too great). Some books just don’t “fit” anywhere, others would go well in too many places. Ian McEwan, for instance, ends up sharing his shelf with female writers like Doris Lessing, Emily Brontë, and Virginia Woolf. I have to think of the shelves as a work in progress in order to live with their limitations. Then, of course, there are also some things I love about the new shelf-arrangement: the various degrees of moral and social incorrectness in the cube that starts with Oscar Wilde, then moves to Thomas Hardy and D. H. Lawrence; how A Moveable Feast rubs covers with John Glassco’s Memoirs of Montparnasse; and that His Dark Materials finally stands beside my three editions of Paradise Lost. 9. Over my desk I place essays on philosophy and literature. My heavy anthologies — costly books with a fair amount of repetition (parts of The Canterbury Tales appear in at least three of them) and some textbooks I keep as reference — go in the sturdy Billy. I also shelve my art books there, like my Janson’s History of Art, as well as some exhibition catalogues, which map out my travels: the Uffizi Gallery in Florence, the Chester Beatty Library in Dublin, the Ivan Mestrovic Gallery in Split. Lastly, I put back my books in French. I keep them together, two compact shelves of ivory spines. I have always wondered at the uniformity of French covers, often white, usually bland. I start with Don Quixote, move down to Alexandre Dumas, the Arsène Lupins which belonged to my father, then Québecois literature. The next shelf is mostly from France: Sartre, Camus, Flaubert, and Littell (which I put beside the latter because of the masterful description in Les Bienveillantes of the narrator reading L’Éducation sentimentale as he walks through fields devastated by war), and contemporary authors like Makine, Folco, and Pennac. 10. Now my shelves are full again, or almost. I have given away enough books to leave two empty shelves — one in the Billy and the topmost shelf above my desk — waiting to be filled by new acquisitions (which certainly won’t be long in coming). This adventure in bookshelf etiquette helped me take control of my library, rediscover what I have, solidify my appreciation for my books — the majority of which are probably going to follow me for the rest of my life. I have realized how many books I own but have not read (The Portrait of a Lady, Nicholas Nickleby, War and Peace, Beyond Black…), but I know that I am not quite ready for some of them, and they can wait a while longer. I dream of owning and reading all of Atwood, Munro, Updike. There are many books I should own but do not: I have nothing by J.M. Coetzee, or Ovid, or Paul Auster. I have Bolaño’s 2666, but not the Savage Detectives; Waugh’s Vile Bodies but not Brideshead Revisited; Marquez’s One Hundred Years of Solitude, but not Love in the Time of Cholera. My book collection is full of hopes and holes. Thus I have a second library, in my mind, of which my real, physical book collection is only the tip (to use that famous iceberg metaphor). Underneath my shelves lie all the books I want, all the books I should have (dictated by the canon, or recommendations from friends and famous people), all the books I need, like Borges’ fabulous Library of Babel, extending out into book-lined room after book-lined room, infinitely. Now, you will have to excuse me, but I have to stop this business — I have some reading to do. [Image source: Stewart Butterfield]
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