When Terry Gilliam adapted Hunter S. Thompson’s Fear and Loathing in Las Vegas, Johnny Depp portrayed protagonist Raoul Duke. It became one of his most iconic roles. Now, thirteen years later, Depp will play protagonist Paul Kemp in Bruce Robinson’s adaptation of The Rum Diary. You can check out the trailer here.
In April 1951, when Jack Kerouac fed the first pieces of what would become a 120-foot scroll of paper into his Underwood portable to write the famous first draft of his novel, On the Road, he was, in one sense, blowing up the typewriter to make his own primitive homemade word processor. Sixty years later, Kerouac’s publisher, Penguin Books, is, in its own quiet way, blowing up the book to make – what, exactly? For now, they are calling it a book app, and even to my mildly technophobic eyes, the results offer a glimpse onto a potentially brave new world of publishing.
I’ll admit I was suspicious when I first heard about a “book app” for On the Road, assuming I would be subjected to some tech geek’s notion of what the book of the future should look like – that is, that it would be all future and no book. So you can imagine my relief when I took the app, now for sale on iTunes, for a test drive on a borrowed iPad, and found it to be an informative, even tasteful, accessory to Kerouac’s book, not an attempt to bury the text under a blaring, technophiliac mess of gadgetry and special effects. That said, the real star of the show is the technology itself, which promises not just a slew of new apps for beloved classic texts, but also, it seems to me, a new, richer way to make books.
By now, of course, e-books are old hat, and even book apps have been around at least since the advent of the iPhone, but this most recent riff on the book app takes the technology in a new, intriguing direction. Publishers have designed apps around comic books and children’s texts, and have even built a few original book apps for nonfiction takes on the periodic table and the solar system, but On the Road is among the first wave of apps designed for the adult trade fiction and poetry markets, following on the heels of T.S. Eliot’s The Waste Land, the app for which recently startled the digerati when it knocked Marvel Comics from the #1 spot on the list of top-grossing book apps on iTunes.
It isn’t hard to see why Penguin is using On the Road to launch its adult trade fiction apps category. For one, it is a canonical classic appealing to everyone from nostalgic Boomers getting their first iPad for Father’s Day to tech-savvy teenage boys who love their digital devices almost as much as they love smoking “tea” and driving fast cars. At the same time, Kerouac’s book has a long and involved back story that begins with that famous 120-foot scroll and extends to the incestuous pack of Columbia grads and assorted hangers-on who made up the Beat Generation.
It is here, in providing the clef for the real-life figures behind the characters in Kerouac’s roman à clef and in drawing a detailed map of Kerouac’s long road to writing On the Road, that this app shines. Chris Russell, editorial director for the project at Penguin, calls the app “a virtual museum” of the book, but to my eyes it comes closer to being a refreshing take on the standard critical edition, with primary sources replacing scholarly essays. The central feature of the app is a digital copy of the published version of the book that comes with tabs readers can tap to see bios of the main characters as well background on some of the people and places Kerouac visited on his travels. Zipping around the app, one can also find maps detailing Kerouac’s travel itinerary, Kerouac’s own maps and writing notes, as well as photos of the major players and original documents from the publisher’s archives showing the book’s tortured road to publication.
Much of this added content is either pedestrian, as in the potted bios of the characters, or familiar to anyone who has ever picked up a biography of Kerouac or a history of the Beats. Some elements, though, such as the maps, do add real texture to the experience of reading the book. I read On the Road the first time twenty-some years ago when I was taking the first of several long road trips around the U.S. and I would have loved to have the graphical aid of the map of his journey to compare to my own. The app allows you to tap a location on the map and go directly to the page in the novel when Kerouac’s alter ego Sal Paradise arrives there. I also enjoyed the audio clips of Kerouac reading from On the Road, which, for me, were like seeing the Grateful Dead in concert for the first time after listening only to their studio albums: a cult phenomenon that had never really clicked for me suddenly made a new kind of sense as I listened to Kerouac’s husky, sensual voice make music of prose.
Thus, while the concept is exciting, in this case the execution isn’t always as strong as it could be, especially given the app’s $16.99 retail price ($12.99 for the first two weeks). So it’s a good thing the app can be expanded at no new cost to the buyer. At the least, Penguin needs to make the experience more genuinely interactive by adding a talk-back or comment feature so fans can compare reactions to the novel and offer analyses of favorite passages. Even better would be a wiki-like feature to let readers add to the commentary provided by the publishers. For instance, one of the maps in the app shows “Mill City,” just north of San Francisco, as one of Kerouac’s stops on his journey. I happen to be from Mill Valley, Calif., which is next door to Marin City, where Kerouac briefly lived in barracks built for the World War II-era Marinship plant in Sausalito. It adds little to one’s reading of the book to know that Kerouac combined the two city names, but given his obsession with African-American culture, it does add context to know that, when he lived in Marin City, those barracks – now public housing, famous for being the home of rapper Tupac Shakur – were among the only truly racially integrated housing in the United States.
But even with added interactivity, there is little here you couldn’t find on a well curated website devoted to On the Road, and cynics will suggest that Penguin is only trying to push sales of a popular backlist title by forcing fans to buy a new digital edition just to see a few cool bits of memorabilia from the archives. And, of course, the cynics would have a point. That is no doubt part of what is driving this sudden interest in putting out “enhanced” digital editions of titles like On the Road and The Waste Land, and if these new iPad apps do no more than draw in a few old Kerouac and Eliot heads, this will prove to be a pointless exercise. If, on the other hand, it draws in new readers, wired iKids who love wriggling down the hypertextual wormholes of the web, then book apps of classic texts will serve a valuable, if somewhat limited, purpose. As I dipped into On the Road’s digital archives, I couldn’t help thinking of other classics that would benefit from similar treatment. Wouldn’t you love to peek into the files that famous pack rat, Hunter S. Thompson, kept on Fear and Loathing in Las Vegas? (See my recent essay on Fear and Loathing here.) Or what about a book app for Tim O’Brien’s metafictional Vietnam novel, The Things They Carried, with maps and photos and bios of the real people behind O’Brien’s characters?
But, again, if the book app phenomenon ends there, as virtual attics for the houses of a few great books, then I doubt the book app will draw many iPad users away from their treasured GarageBand and iMovie apps. The real promise here, as I see it, is the underlying technology, which, with any luck, will some day allow a kid now sitting in his eighth-grade English class playing Spider-Man: Total Mayhem HD to write an original literary app: a truly interactive novel that not only combines text with hypertext, but also with sound and images and reader responses, all at the swipe of a finger. This notion has been the holy grail of a certain school of digitally avant garde writers since the days of dial-up connections, but the technology has always been clunky, and the stories, at least in my own admittedly limited experience, damnably dull.
Two factors suggest the lackluster track record of the interactive novel may be due for a change. First, it takes only a few minutes on an iPad to see that this sleek hand-held device, with its gleaming touch screen and seemingly bottomless array of multi-media features, is a quantum leap forward in terms of flexibility and user friendliness. Second, until very recently, the minds of the people creating interactive novels have been as old school as their equipment. If the central building block of most interactive novels has until now been the codex text – otherwise known as the book – that’s because most of the people making them were raised on codex texts. Every day, as more toddlers read The Little Engine That Could on their parents’ iPads and Skype their grandparents on their smart phones, this is becoming less true, and soon a young writer whose brain is more supple than mine may well take this technology and bend it to uses that my mind, hopelessly mired in the linear, cannot even imagine.
In the meantime, old fogies like me can happily potter around in the virtual attics of classic novels like On the Road and recall a day when blowing up a venerable piece of technology took only a big stack of paper and some tape.
Forty years ago today, on March 21, 1971, Hunter S. Thompson and a Chicano activist attorney named Oscar Zeta Acosta drove from Los Angeles to Las Vegas to talk over an article Thompson was writing about the barrios of East L.A. When the account of their journey appeared in Rolling Stone in November of that year, Thompson and Acosta had morphed into Raoul Duke and his 300-pound Samoan attorney and the trunk of their car, the Great Red Shark, had become a rolling drug dispensary:
We had two bags of grass, seventy-five pellets of mescaline, five sheets of high-powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers…and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls.
I can still remember sitting in the basement of my parents’ house in Northern California, practically whizzing myself with delight at that dizzying list of pharmaceuticals. I was fourteen and I’d read Catcher in the Rye and A Separate Peace and all the other books about and for nice, well-heeled boys whose lives have gone a little off the rails, but Fear and Loathing in Las Vegas was different. It wasn’t just the mind-blowing drug use or the lusty middle finger Thompson seemed to be giving straight America; no, what was so startling, so riveting to my fourteen-year-old’s mind was how sincere the whole thing seemed. Raoul Duke is a foul-mouthed, gun-toting drug addict with a mean streak, and yet, as he explains to a terrified hitchhiker in the opening scene, he and his 300-pound Samoan attorney are driving to Las Vegas in search of the American Dream. “This is important, goddamnit!” Duke snarls at the poor hitchhiker. “This is a true story!” And sitting all alone in my parents’ basement, still high from the bong hits I’d blown out the window, I believed him.
That was then. In the forty years since Thompson took that fateful trip into gonzo history, he has gone from arguably the most dangerous man in American journalism, to a cartoon character in Doonesbury, to a drug-fuddled has-been, to a suicide, and yet the work remains. Four decades on, does the Fear and Loathing still hold up?
Hunter Stockton Thompson, future Doctor of Gonzo Journalism, was born in 1937 in Louisville, Kentucky, the first son of an insurance salesman and homemaker. Young Hunter was a handful pretty much from birth, according to William McKeen’s excellent, though slightly fawning, 2008 biography, Outlaw Journalist. After his father died, Thompson graduated from pranks to petty crime and was locked up for two months for threatening to rape a girl during a small-time robbery. Choosing the Air Force over a life of crime, he started writing sports stories for a base newspaper and fell in love with journalism. For a decade, he knocked around the lower rungs of the news trade, filing increasingly wild and unverifiable feature pieces from Puerto Rico and South America until the mid-1960s, when he stumbled onto his first great subject, the Hells Angels.
Flush with the success of Hells Angels, his book about the year he spent hanging out with – and, famously, getting stomped by – the outlaw biker gang, Thompson signed a contract to write a book on the ponderous subject of The Death of the American Dream. It was a dumb idea for a book and he never wrote it, but the theme festered in the back of his mind for years while he was getting beaten up by Mayor Daley’s cops in Chicago in 1968 and watching one after another of his liberal political heroes get gunned down, until that March day in 1971 when he set out across the Mojave Desert with Acosta.
Fear and Loathing compresses two separate trips Thompson took to Las Vegas that spring – the first to cover a motorcycle race called the Mint 400, the second to cover the National District Attorneys’ Conference on Drug Abuse – into a single hellish week of drug consumption and debauchery. To these real-life assignments Thompson adds a third, deeper quest: his much-delayed search for the American Dream. Whether Fear and Loathing is a work of journalism or fiction is a topic of fierce contention among die-hard HST heads, but in truth the book is neither. It is myth. Two seekers, a great white Hunter and his brown guide, cross the desert into the American heart of darkness in search of what killed the spirit of hope and innocence that animated the decade just ended.
The first thing that strikes you when you read Fear and Loathing in Las Vegas in 2011, beyond the rotary phones and the 29-cent burgers, is what a sad story it is. Don’t get me wrong; parts of it are still very funny. It is a tribute to Thompson’s comic genius that all these years later Raoul Duke’s acid-fueled description of entering a Vegas hotel bar can make a grown man like me, whose druggie years are decades in the past, laugh so hard he snorts ginger ale out of his nose:
Terrible things were happening all around us. Right next to me a huge reptile was gnawing on a woman’s neck, the carpet was a blood-soaked sponge – impossible to walk on it, no footing at all. “Order some golf shoes,” I whispered. “Otherwise, we’ll never get out of this place alive. You notice these reptiles don’t have any trouble moving around in this muck – that’s because they have claws on their feet.
But for long stretches the book reads like an all-too-accurate description of a weeklong binge, with all the shapelessness and pointlessness that implies. Minor characters appear and disappear with barely a ripple, plans are meticulously devised and abandoned, weapons are drawn in murderous rage and then moments later forgotten, and when all is said and done it adds up to not very much. Duke doesn’t get either of the stories he is sent to Las Vegas to get, he never finds the American Dream, and by the end, when his plane out of Vegas lands in Colorado, he is so addled he literally doesn’t know where he is.
The sadness is never more clear than in the well-known “wave passage” that appears midway through the book. Thompson is said to have considered this aria to the death of innocence to be one of the finest things he ever wrote, and it is indeed a lovely piece of writing. In it, he describes a series of late-night motorcycle rides around San Francisco, in an effort to convey what it was like to be alive in that city in the mid-1960s “when the energy of a whole generation” struck “in a long fine flash”:
There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning….Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting – on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave.
So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark – that place where the wave finally broke and rolled back.
It goes by so fast that if you’re not paying attention you could miss it: “Our energy would simply prevail. There was no point in fighting.” What drugs were these people on? They wanted to change the world, turn back the largest military machine in the history of the world, and they saw no point in fighting?
Of course, many in the anti-war movement did fight. Some were beaten up by police, others went to jail or left the country, and a few even died. Unlike the leaders of the Civil Rights Movement, however, who were under no illusion about what they were up against, the leaders of the Peace Generation were by and large children of privilege who believed that if they spoke truth to those in power – who were, after all, their parents – they would be heard. But once the Flower Children had finished sitting in and singing mean songs about the president, when their parents, Nixon’s Silent Majority, went ahead and fought the war anyway, most cut their hair and found jobs.
But not Raoul Duke, our latter-day Don Quixote who drives into Vegas with his 300-pound Sancho Panza and a head full of acid to figure out what went wrong. Duke is a horror show – violent, misogynistic, full of a manic male rage that is fueling his appetite for drugs – but in a world of hustlers, pimps and bullshit artists, he is an honest man. He lies constantly, but never to himself, or to his readers. He understands how destructive he is, and he describes, with almost compulsive honesty, what it must feel like to totally lose faith in one’s self and one’s country. In the end, he is demoralized, smashed against the rocks of history, and though he never comes out and says so, one suspects that one of the reasons he’s so heartbroken is that he knows he has no one to blame but himself.
This may explain why Fear and Loathing in Las Vegas made such a stir when it first came out: it not only sounded the death knell of the 1960s, but also helped make sense of its ignominious end. Raoul Duke is no Flower Child, but he is the freakiest of the Freaks and he believes, with his own freakish fervency, in the nobility of what his generation was trying to achieve. What he sees from that hilltop in Vegas, despite the fistfuls of drugs he takes to obscure his vision, is that his side has lost, not because the cause wasn’t just or because the enemy wasn’t evil, but because he and his compatriots were too self-involved, too drunk on their rightness, to fully appreciate the power of their opponent.
Like his alter ego, Hunter S. Thompson was nearing the end of his tether by the time Fear and Loathing appeared in 1971. He published another couple decent books and one perfectly awful one, The Curse of Lono, about Hawaii, and then he more or less gave up. For the last 20 years of his life until his 2005 suicide, except for some rather disjointed newspaper columns, he wrote little new material and instead filled book after book with pages from his vast archives of old letters, articles, unpublished novels, and screeds.
I got to know Thompson a little midway into this long, sad decline when I worked as a reporter in Aspen, Colorado, in the early 1990s. Whatever else you could say about the man, he was a terrific interview. He mumbled so badly that you missed three-quarters of what he said, but what slipped through the rocks in his mouth cohered into hilarious little sonnets of invective directed at the greedheads and pigfuckers and scurvy rats gnawing at your bones. But my principal memory of him is a silent one. At some point along the line, he had been given a replica of the Great Red Shark, and many nights walking home after deadline, I saw him driving it aimlessly down the back alleys of downtown Aspen. One night – it must have been summer because he had the top down – he passed by me very slowly, and for three or four long seconds, our eyes met. He was middle-aged by then, his face wrinkled and doughy, the bags under his eyes dark as oil slicks, but he stared at me in that intense Hunter way of his, and I remember thinking: That is the saddest, loneliest-looking man I have ever seen.
And then he drove on, my childhood outlaw hero, all alone in a fire-red Chevy convertible, cruising the back alleys of Aspen, heading nowhere in particular.
A recent Millions essay by Michelle Huneven got us thinking: much hay has been made of how various print and digital platforms affect reading practices, but what about setting? Where you do your reading, and how much unbroken time you can give to it, will arguably shape your experience far more than does the difference between screen and page. And as cable and the web colonize our homes, it seems to us that the best reading is increasingly done in transit – for better and for worse. We’ve read pieces of War and Peace on the DC Metro (tough) and half of Anna Karenina in a single gulp on a night train through Tuscany (sublime).
By way of starting a conversation about the ideal marriage of text and transportation, we’ve asked our contributors and our Facebook group to make recommendations for three modes of transportation: Planes, Trains, and Automobiles. “Planes” should be self-explanatory; “Trains” comprises commuter rail (and buses) as well as longer distance trips; and “Automobiles,” perforce, centers on audiobooks, podcasts, and works read out loud by those not behind the wheel. Contributor responses appear first, followed by selections from the Facebook response. We invite you to add your own in the comments section or via twitter (using the hashtag #roadbooks). Bon voyage!
Sonya: While traveling far from home, I like to give myself over fully to a changed perspective, leaving my customary myopia behind as much as possible; The Economist is my preferred reading. The robust “World” and “Business” sections in particular knock me off my precious literary perch, which can be awfully refreshing.
Kevin: My criteria for a plane book are two: I want it to be fast-paced, and I want to be able to finish it, if not by the time I touch down, then at least during the return flight home. I’ve never had a better plane reading experience than Boston to Los Angeles, 1994, The Hunt for Red October.
Edan: When flying, I always want something short enough to read cover-to-cover (in addition to a novel, a fashion magazine or gossip rag, and a book of jumbles, crosswords, or soduku). On my last few flights, I’ve brought a volume from Melville House’s Art of the Novella series. I’ve written about Bonsai by Alejandro Zambra here. I can also recommend Customer Service by Benoît Duteutre, about a man with cell phone issues who just wants help from a goddamned human being. It’s an appropriate read for when you’re flying through the air in a magical bullet, and you’ve just been forced to pay for a bag of peanut m&ms (a.k.a., dinner) with your credit card because cash is no longer accepted.
Garth: Last summer, en route to Hawaii, I read most of Gay Talese’s Thy Neighbor’s Wife. If I say that I wasn’t even tempted to look at The Real Housewives of New Jersey (on a continuous loop on my back-of-seat TV), it’s not to slight Jacqueline or Dina, but to indicate how engrossing and provocative I found Talese’s exploration of sex in America.
Anne: For the nervous flyer (like myself), who wants to forget they’re in a fuselage for the duration of the flight, Lucy Grealy’s memoir Autobiography of a Face offers a gripping and unsentimental account of her childhood bone cancer and living with the consequent facial disfiguration. The book can captivate for the time it takes to cross an ocean – even, in my case, the Pacific.
Emily W: My fear of flying makes reading when skybound a rare pleasure. For me, it’s usually the iPod, cocktails, and a Vogue or a Harper’s Bazaar. The one book that managed to suppress my fear of death in the sky for five hours was J.M. Coetzee’s Disgrace, which I read from cover-to-cover on a red-eye from San Francisco to DC.
Max: Plane rides are perfect for magazines, especially the New Yorker. The freedom to work through an entire issue in one sitting feels like a luxury, even if the leg room is lacking.
Anne: Amy Hempel’s Collected Stories offer enchantments brief enough for daily a commute, but the collection provides a cornucopia of word play and eclectic tales to occupy a longer haul. Plus, Hempel’s story, “To Those of You Who Missed Your Connecting Flights Out of O’Hare,” is a sure endorsement of the soothing lull of a long train ride.
Sonya: I like the Russians for train travel. When you’re watching the natural landscape – the largely uninhabited regions – of a country fly by in flashes, it just feels right to be reading stories that take place over the great land mass of Mother Russia. For a long trip, Dr. Zhivago; for, say, the DC-New York Metroliner, Chekhov’s “The Steppe” – in both cases, the land journey is also the journey of the soul.
Garth: The subway is feast or famine for me. The right book, and I’ll miss my stop; the wrong one, and I’ll read for half an hour without registering a single word. When I don’t have a New Yorker handy, Joan Didion – say, Play it as it Lays or Salvador – is perfect subway reading: lucid enough to let me in quickly; sophisticated enough to hold my attention; and discretely structured, for ease of exit.
Kevin: Typically before boarding at 30th Street Station in Philadelphia, I stop at a news kiosk and pick up the NYT and the WSJ. I enjoy having the time to read each front to back, and I like being able to change from news to business to sports and then back again. There’s also no doubt that I like the romance of a newspaper on the train: the economy fold, the crinkle of the pages mixed with the sound of the clattering tracks.
Emily W: On trains, I’m usually one for gazing out the window or striking up a conversation with a stranger, but this winter on the Northeast Direct from DC to Boston, I found Poets and Writers’ January/February 2010 issue quite absorbing, particularly their “Literary Life” essays. I’m a bit of skeptic when it comes to writing about writing but P&W convinced me otherwise.
Edan: I never travel by train, but the next time – or, really, the first time – I get the opportunity to ride one across the country, or even state lines, I plan to bring along my copy of Selected Stories by Alice Munro. I will flip immediately to “Wild Swans,” a startling, discomfiting, and accurate account of an encounter with a stranger on a train. Munro writes: “Victim and accomplice she was borne past Glasco’s jams and Marmalades, past the big pulsating pipes of oil refineries.” I’d like to read that sentence as another landscape glides by my own train car window.
Max: There’s something about taking a longer train ride that puts one in the mood for adventure. When I was younger, I read Fear and Loathing in Las Vegas on a train ride from Washington D.C. to New York and emerged from Penn Station feeling pleasantly addled and ready for a night on the town.
Amir Hother Yishay: I finished the last 200 hundred pages of A Storm of Swords, by George R.R. Martin, on a subway ride
Jane Weichert: Nothing Like It in the World by Stephen Ambrose is an very readable story of the building of the first transcontinental railroad. It was built by the immigrant Chinese and Irish and gives an understanding of the brutal conditions under which they worked. Last Train to Paradise by Les Standiford is a spell-binding tale of the last of the privately financed infrastructure projects undertaken by larger-than-life 19th century businessmen. Here Henry Flagler races against his own mortality to complete a railroad from Jacksonville to Key West, with the final run south from Miami requiring herculean engineering, management, and financial resources.
Becky Donahue: Short stories are wonderful…just finished reading Too Much Happiness by Alice Munro. Podcasts…Slate does a great job and lots of content to choose from. My new favorites are Spilled Milk and The Moth.
Sonya: Once weekly, I drive two hours each way – prime audiobook time. “As read by the author” is often a great way to go when choosing nonfiction in particular. I recommend Elizabeth Gilbert reading Eat, Pray, Love; Anne Lamott reading any of her memoirs; Helene Cooper reading The House at Sugar Beach; and, my favorite among these, Dreams From My Father. The author was allowed much more range of expression back in 2005 when he recorded it, and it’s a rare experience hearing a future president do Kenyan accents and urban “Negro dialect” (ahem) and using the f- and n-words. [Ed.’s note: for the latter, we also recommend the Lyndon Johnson tapes.]
Anne: It’s rare that I travel by car these days, and even rarer that I find myself behind the wheel, but when I do, I like to listen to In Their Own Voices: A Century of Recorded Poetry. Listening to poems, like songs, lets me internalize their rhythms and cadences. This collection features a wide range of twentieth-century poets reciting their own poems, from Sylvia Plath’s contemptuous “Daddy” to Gertrude Stein’s playfully repetitive “If I Told Him: A Completed Portrait of Picasso.”
Emily W: With audiobooks, it’s all about the reader; audio samples are essential to choosing a good recording. On recent car trips, my husband and I have found Huckleberry Finn and The Da Vinci Code particularly entertaining (in the latter case, guffaw-inducing) because the readers were so excellent at accents, genders, and dialects. And I have extremely fond memories of listening to Larry McMurtry’s Anything for Billy with my parents and sisters on a childhood drive from Virginia to Massachusetts.
Kevin: Audiobooks are not foolproof. A couple years ago I tried to listen to Cold Mountain on a road trip; between changing lanes, counting out toll money, and generally trying to stay alert, I found Charles Frazier’s slow, somnolent reading impossible to follow. These days my voices of choice are David Sedaris (yes, please, Santaland Diaries one more time) and Garrison Keillor, or anyone else working in short-form comedy.
Garth: Though my wife and I like to read aloud to each other on long trips, The Lannan Literary Foundation podcasts are a recent discovery I’m pretty enthusiastic about: lengthy readings by writers like Deborah Eisenberg and Samuel R. Delany, followed by intelligent discussion with peers like Ben Marcus and Junot Díaz. We parcel them out like rest stops.
Max: A good travel audiobook can make even a drive from Chicago to New York seem something more than just endless fields and turnpikes. Most memorable was Paul Theroux’s account of his train trip from Cairo to Johannesburg, Dark Star Safari. The library is great for these.
Amir Hother Yishay: I always read on car rides, never having been a fan of audio books myself. One of my greatest car reading experiences would probably be reading One Hundred Years of Solitude over a two week trip from Toronto to St. Johns.
Miriam Parker: One of my most enjoyable long car rides included listening to Born Standing Up by Steve Martin. He reads it and is fantastic. I actually had to stop the car once to write down something brilliant he had said or else I would have caused a huge accident on I-40.
Christine Magee: Commuting in and out of the city on a regular basis last year was made palatable by listening to Carson McCullers, The Heart is a lonely Hunter. The fact that the narrative transported me to a different place and time made it the perfect choice. It got to the point where I was looking forward to sitting in traffic so I could hear more! This wonderful book full of tension and struggle made my daily commute seem like a breeze!
I won’t be posting again until Monday because I’m leaving for Las Vegas tomorrow. I’ve got plenty of books to read right now (and anyway, I’m not sure if I’ll do much reading), but I was wondering what I might pick up if I wanted to do some Vegas-themed reading. The obvious choice is Hunter S. Thompson’s Fear and Loathing in Las Vegas, a book that I read years ago and loved, though I prefer some of HST’s other books. But, no, that’s far to cliched. Or I could read John O’Brien’s Leaving Las Vegas, the devastating novel of alcoholism that was turned into an Oscar-winning triumph for Nicolas Cage, but that would be far, far too depressing. A little research reveals that Larry McMurtry wrote a book set in Vegas called The Desert Rose. I’ve never read McMurtry, so this might be a reason to start. But, as usual, I have a hankering for some non-fiction as well. There happens to be a good, recent book about Vegas called The Money and the Power: The Making of Las Vegas and Its Hold on America by Roger Morris and Sally Denton, which might help explain why we are drawn to this desert fantasyland like so many moths to the flame.
For some reason I’ve always been wary of audio books. For one thing, they are expensive and for another the whole idea of listening to a book seems antithetical to the author’s original task of putting words to paper. Recent events, however, have alleviated this wariness. A friend of mine has suddenly gained access to free audio books, and when she offered me some titles to choose from, I couldn’t help myself. I am in a constant struggle to read as many books as possible, and, working at the book store, my list of must-read books increases at a far greater rate than I am able to manage. With my newfound acceptance of audiobooks, though, I have mbeen able to greatly increase my reading productivity. In fact, I finished listening to a terrific book on the way to work today, Positively Fifth Street by James McManus, and I must say I was sad to have it end. McManus’ book did wonders for my terrible Los Angeles commute (I know, it’s such a cliche, but LA traffic is no joke). This book has been very popular since it came out a few weeks ago, and many had been eagerly anticipating it ever since the Harper’s magazine article that was the book’s progenitor. McManus was sent to Vegas to cover the both the trial of the murderers of Ted Binion and the World Series of Poker that Binion’s father had created and that the family he left behind continued to run every year. Upon his arrival, McManus makes the fateful decision to use his advance money for the Harper’s article to enter the tournament, and, though he has never played professionaly, he makes it all the way to the final table. He paints both the trial and his no limit poker travails with vivid prose, and he really makes you root for him. The Vegas setting combined with the participatory journalist angle reminded me a lot of Fear and Loathing, and though the books are very different, Fifth Street is easily as invigorating as the original tale of a lost weekend in the desert.Books I’d love to read (but will I ever get around to it?)As I mentioned above my list of books to read is monsterous and ever-increasing. In fact, my list is so long that there are quite a few books on my shelf that I fully intend to read — that I would love to read — but are constantly being bumped farther down my list by books that I deem to be of a higher priority. Long gone are the days when I would casually finish up a book and then blithely wander around the local bookstore hoping to come across something that piqued my interest. My backed up piles now stare up at me plaintively, wondering if I will ever get around to reading them. Since, I’m not sure when I will ever get around to reading some of these, I will do what I have determined arbitrarily to be the next best thing: mention them here. A casual glance at the book shelf behind me reveals several books that are waiting out their purgatory: The Hole in the Flag is Andrei Codrescu’s account of the fall of the oppressive regime in his native country. I want to read this because I love Codrescu’s commentary on NPR and because I visited Romania almost ten years ago and have been fascinated by the country ever since. I hope to read Mr. Jefferson’s University by Garry Wills for similar reasons. Wills is a masterful historian and biographer, and I attended the college that is the subject of the book. Plus, the National Geographic Directions series of travel writing, of which this book is a part, has proven, in my experience, to be very much worth reading. Down to Earth by Ted Steinberg is about nature’s role in American history. I read about this book when it came out last fall and it reminded me of Guns, Germs, and Steel the Pulitzer Prize winner by Jared Diamond. I loved that book so figured I’d be into this one as well. I snagged an advance copy of An Army at Dawn by Rick Atkinson when it appeared in the book store last summer. I had just finished John Keegan’s masterful history of The Second World War, and so I couldn’t pass on a free book about the Allies liberation of North Africa. The book has since won the Pulitzer and I haven’t even cracked the spine. I’m sure I’ll get around to it at some point. Well, there are many more to name, so I think I’ll stop there before this gets too depressing. So many books to read.Leonard Michaels RIPIn my rant about that 70’s O. Henry book yesterday, I neglected to mention the collection’s first story “Robinson Crusoe Liebowitz” by Leonard Michaels. The story centers around a man hiding in his lover’s bedroom. He is persecuted by twin tormentors: his fear of being discovered by his lover’s fiance and his burning need to urinate. It is a dark and clever story. It stuck in my mind, and when a customer mentioned today at the store that Michaels had recently passed away, I remembered poor Liebowitz and his straining bladder. I don’t know much about Michaels, though I would like to read his novel The Men’s Club if I can manage to track it down, so I’ll let his obit tell the rest of the story.