Late in Brightfellow, Rikki Ducornet’s new novel, the protagonist and titular “fellow” takes two eight-year-old girls to see Rear Window. Unsurprisingly, for those readers familiar with Ducornet, the impropriety of this outing is never discussed. Rather, the children are more upset by Jimmy Stewart’s nipples than Raymond Burr’s murder and dismemberment of his wife, “Men should not have nipples!” they insist, “no one should have nipples!.”
This absurd and illogical world, here as in all of Ducornet’s novels, is not exactly magical realist — there is no intrusion of the fantastic into the otherwise normal here. It is also not a postmodernist world of artifice and simulacrum. Rather, her worlds are all surface and texture. Brightfellow refuses to conform to a narrative logic in which events have meaning. While Ducornet is, here and everywhere in her work, expansively erudite, her use of citation and reference does not take the form of clues, or gestures toward meaning. Her Borgesian meta- and intertexts aren’t to be interpreted; they are to be experienced. Ducornet even makes a joke of the kind of embodiment her prose evokes, when the eight-year-olds debate the logistics of body dismemberment, “They suppose the thighs look like hams and that there would have only been room for two in the suitcase. They wonder if the knees would have been attached to the thighs.”
This image: grotesque and gustatory, also silly and beautiful, distills all of Brightfellow. It also evokes Ducornet’s earlier novels Phosphor in Dreamland and The Fountains of Neptune more than her last, Netsuke, which Michael Cunningham described in The New York Times as a malignant and malicious story of “soul-murder.” Brightfellow flirts with childish eroticism and terrible violence, yet, despite the Alfred Hitchcock, in it Ducornet follows Lewis Carroll and Jorge Luis Borges, more than her sometime-precursors Vladimir Nabokov or the Marquis de Sade.
This novel, Ducornet’s ninth, follows its bright fellow, who we meet as a boy called “Stub,” and rejoin later as a young man calling himself Charter Chase. Stub/Charter, abandoned by his mother and then abandoning his father, winds up a feral young man on the campus of an unnamed university. His first entry into the world of the college is through the library, where he obsessively reads the works of the reclusive anthropologist Werner Vanderloon. Eventually, Stub becomes a secret resident, sleeping in a specimen cabinet in the biology lab and pilfering the left-behind contents of gym lockers and dorm rooms for an appropriately preppy wardrobe that enables him to pass as a student.
The inevitable Giles Goat-Boy comparisons are already made by Ducornet’s blurbers, and while, in some sense, this book may resemble John Barth’s feral-boy-on-campus novel, Stub/Charter’s self-invention is a red herring. This is a coming-of-age story in a looking-glass universe, in which familiar categories are meaningless. Charter presents himself as a scholar studying Vanderloon’s papers, and so gains entry into Faculty Circle, where he eventually takes a room in the home of a lonely emeritus professor. While there, Charter conceives an obsession with a child, Asthma, who lives next door (and who, in a bit of heady referentiality, he observed through the window, and who he will take to see Rear Window). Observing Asthma, Charter muses on Vanderloon’s anthropological system:
Vanderloon divides mankind into two constants: the ones who know how to play, are full of mirth and fellow feeling and the ones who are killjoys and combustible. Play, he writes, is a powerful form of magic — sometimes white, sometimes black. But always it is born of invention and intuition. Play is about becoming a human, just as it is about becoming a lion, a tugboat, a galloping stallion. The hallway that leads away from the child’s room and into the depths of the house is a river, a glacier, a bridge to the moon.
This anthropological treatise recapitulates Charter’s own experience, when, as Stub, he imagined a linoleum floor as”
an archipelago that begins under his bed and goes all the way to his door. It shines with beauty and danger. There are flowers that have voices and sing to children. There is a poisonous toad that speaks in riddles, and the wrong sort of snake, thick as a chimney, concealed in the dappled light.
For Ducornet, the point of this description is its sensation. She wants you to feel “tugboat” and “galloping stallion” in your mouth when you read. Rear Window makes the act of viewing a film dangerously close to voyeurism.
Brightfellow suggests that the artifice of the words on the page and the voyeurism of a girl playing in a window, or an anthropologist observing some hitherto unknown society, are all there is. Ducornet’s is a world of surfaces so rich and textured that notions of meaning and interpretation are subsumed under a lush and seductive prose that eventually inhabits readers minds. Her writing inevitably gets described in a vocabulary of her creation: “decadent,” “anarchic,” and “fragrant.”
In Brightfellow, Ducornet forces readers to experience the physicality of reading, to feel and taste the act of storytelling. Every character perpetually self-invents. When Charter creates a fictive Vanderloon book about an obscure and isolated island culture, it is indistinguishable from the “real” Vanderloon texts. Vanderloon’s account of play both is and is not apt in the novel’s reading of Rear Window, which forces the viewer to share Jimmy Stewart’s voyeurism. As the film’s audience sees the film through the eyes — and the lens — of its protagonists, readers of Brightfellow feel Ducornet’s prose as Charter invents the cultures of Vanderloonian anthropology.
Ducornet has said that everything she writes is “informed by experience, experience not limited to the street, bathroom, kitchen.” This is a novel to be experienced, not simply read. Yet to say this novel refuses meaning is not to say that it lacks event. Its celebration of the texture and contours of storytelling, of the unruly expansiveness of language, and of the relative ease with which the borders of the world are permeated by fabulation offers a rebuke to a kind of fiction in which the imagination is increasingly constricted. As ever, Ducornet wants you to feel and taste her story more than to say what it is about. Like Vanderloon’s notion of play, it is about becoming human, or a tugboat.
It was October of 1966 and John Barth had just published Giles-Goat Boy, a 700-page postmodern comedy, and a New York Times Bestseller. Barth was starting the stories that would eventually make up Lost In The Funhouse, a seminal work of metafiction. He was teaching at the University of Buffalo and was busy putting together a week-long reading series for the following spring. He had already secured writers like Norman Mailer, Joseph Heller, Isaac Bashevis Singer, and John Hawkes – author of the spectacular surrealist Western, The Beetle Leg. The series would feature some of the most powerful literary figures of the time. But Barth was working to finish the line-up with one more writer, a man he admired and sought to befriend; he wanted to get John Updike.
“I’ve been told you don’t make public appearances, and I sympathize,” Barth wrote to Updike. Updike had won the National Book Award for The Centaur three years prior, and Rabbit, Run was only half a decade old. Updike was 34. Barth was 36. Barth wrote to Updike, “…as one who respects your work, and suspects it would sound excellent to the ear in the author’s voice, and has agreed to read something of my own to help out, and wants to meet you better anyhow than I did at the Academy last Spring, I’d be honored, and we all delighted, if you’d bend your admirable policy once and lay some of your prose on us out loud.”
Barth was genial with many alpha literary fiction writers throughout his career – eventually even men like Philip Roth, Italo Calvino, and Salman Rushdie. But Barth was an alpha writer himself, in the mid-60’s, a literary artist and intellectual who was both wildly innovative and popular. Barth largely associated with other experimentalists – people like William Gaddis, Donald Barthelme, and William Gass – but then he was especially drawn to Updike. Updike was a realist, and this genre discrepancy served as a sort of important buffer to literary bitterness and jealousy, especially as time went on.
Other writers knew about Updike’s aversion to public speaking. Updike had only ever taught one course, in the early 1960s, at the Harvard Summer School and disliked the experience so intensely that he vowed to never do it again. Updike covered a single additional class session in the Fall of 1966 at Boston University – after John Cheever called him, too drunk to stand up – and that was his final appearance in the classroom.
Barth wrote to Updike anyway. Updike responded, “I don’t ‘read’ much, but such a generous and engaging letter from the author of Giles Goat-boy would be hard to resist. By next April I should either be insane or substantially through a novel that is presently tormenting me, so let me accept, on the assumption that I’ll be reminded as the date approaches.”
Updike went to Buffalo in 1967. Barth stood at the front of a crowded auditorium and enumerated the ways that Updike’s writing was distinctive in a time of high postmodernism and experimentation. “His materials and methods remain essentially realistic, straightforwardly if subtly representational, as opposed to the diverse anti- and irrealisms of most of his contemporaries.” Barth said, “He’s non-apocalyptic, a highly unfashionable attitude – one suspects he may not even be a nihilist.”
Barth certainly thought of himself as one of those irrealist writers he mentioned in Updike’s introduction. He had begun writing Lost In The Funhouse: Fiction for Print, Tape, Live Voice. The book begins with a note from the author, in which Barth writes that many of these stories aren’t actually meant for the page. Barth says “Glossolia,” for example, “will make no sense unless heard in live or recorded voices, male and female.” Despite finally limiting some of those ambitions to the printed word, a story like, “Night-Sea Journey” – a sperm’s existential reflections on its swim to fertilize an egg – is brilliant. Stories like “Lost In The Funhouse”, “Autobiography”, and “Title” are, too. Some of the others – “Echo”, “Menelaiad”, “Anonymiad” – really stumble.
Six years after the Buffalo reading, and around the time Barth published his National Book Award-Winning trio of novellas, Chimera, Barth moved back to Baltimore to teach in the writing program at Johns Hopkins, his alma mater. He was put in charge of another speaker series. He again sought John Updike.
In October 1974, Updike wrote back and accepted that invitation. Updike then shared some unhappy news: “You and [Barth’s wife] Shelley will be sorry to hear that Mary and I seem to be undergoing that American, or is it menopausal, experience called separation. Hence the urban address below. I work, eat, sleep, and read all on the same head of a pin-sized apartment, and seem happy in a way, or at least less asthmatic.”
Barth conveyed his distress and sent his best wishes to Updike and his wife. He hoped Updike was able to write in his “diminished physical plant.”
Updike furthered the intimate tone of the exchange with his response. He wrote, “A curious bit of etiquette – having no wife to bring, might I bring someone else?… The substitute would be, I would think, a mature American female, quiet and mannerly, not apt to embarrass any proceedings. I haven’t invited any yet, just wondering, way in advance.”
Barth wrote to Updike that he would set him up in the Nichols House, which would be comfortable “with or without mature American female, whom by all means, bring.”
On Friday, April 18th, 1975, Updike arrived in Baltimore with, in his words to Barth, “A Martha Bernhard (37, une autre séparée, onetime student of Nabokov at Cornell).” Leslie Fiedler, the book critic, had a campus event that same day. The group of them went to Updike’s afternoon reading, then Fiedler’s evening lecture, then out to dinner.
The next morning, Barth and Shelley and Updike and Martha went on a literary tour of Baltimore. They visited Edgar Allan Poe’s grave. They went to the H.L. Mencken House. They got soft-shell crab for lunch. Then John and Martha got on a plane back to Massachusetts.
Gracious letters from both Bernhard and Updike followed. Bernhard wrote, “Dear Shelley and Jack, You were dear to let me tag along to watch John enchant your students, a pleasant occasion for me of course. Beyond that, I was moved by your graciousness and acceptance in what could have been an awkward situation. But it was charming, really, because of your gentleness. Lovely of you.” She added that the Barths were fortunate to have seen Updike in a “role he shies from but does beautifully.”
Updike, for his part, said, “Martha was greatly touched and cheered by the lack of awkwardness in an adventure, a venturing forth, that was a touch barefaced for us. You were both most kind.” Then he goes on to ask Barth if he can get him a Johns Hopkins University sweatshirt for a souvenir, “with as it happens [his] initials on it.”
Updike and Martha got married in 1977. They were married for 31 years, the rest of Updike’s life.
After Updike died, Martha told Barth in a letter that this first trip was not only the beginning of her relationship with Updike, but also the occasion on which Updike changed his mind about readings. “He took to it,” Martha wrote, “as he didn’t to teaching, and thus began a modest, but consistent, reading schedule that he truly enjoyed.”
Following the Baltimore visit, Barth and Updike’s communication continued primarily through the mail. Letters of mutually generous appreciation of each other’s work were frequent, and they sustained the friendship.
The differences between the two writers, meanwhile, grew more marked. In 1982, Updike published Rabbit Is Rich, the story of Harry Angstrom inheriting his late father’s Toyota dealership and living through prosperous days in which he worries about his wife’s drinking, his son’s hostility, and his own libido. It won the National Book Critics Circle Award, the National Book Award, and the Pulitzer Prize for Fiction. Barth, meanwhile, published an opus of a novel called LETTERS. LETTERS is not only entirely about itself and its author, but also about Barth’s first six novels, which you need to have read in order for LETTERS to make any sense.
The critical state of their respective careers diverged. After the publication of Rabbit Is Rich, Barth wrote to Updike, “Congratulations on ‘Rabbit’ sweeping the field—and what’s more, on the book itself. Shelly has asked me, “are you envious?” And I have answered, “yes,” especially as the first negative advance reviews of my new one [The Last Voyage of Somebody the Sailor] trickle into the clear stream of our life like acid mine drainage.”
Updike published the well-received Witches of Eastwick. He again won the National Book Critic Circle Award and Pulitzer Prize for Fiction with Rabbit at Rest. Barth meanwhile published sprawling navel-gazing novels like The Last Voyage of Somebody the Sailor and The Tidewater Tales – books that were increasingly long form concentrations on the mechanics of storytelling.
Barth and Updike complained to each other of certain writers’ underappreciated brilliance, and griped of others’ successes. “The Pynchon—,” Updike wrote, “I got a hundred pages into it, and wondered if the next several hundred would tell me anything I didn’t already know. He can coin wonderful phrases, and does prodigies of homework, but there isn’t a lot of flesh to nibble on. Still, I must get back to it, and then read every word of Underworld, as penance or pleasure, who knows?”
Barth grew sensitive to critics and reviews, and counter-productively more stubborn in his methods. In 2001, Barth wrote Coming Soon!!!, in which he attempts to spoof his own position in the pantheon with two protagonists: one’s a retiring novelist (quite clearly John Barth) setting out to write his final masterpiece. The other’s a young, aspiring writer (quite clearly a young John Barth) in the midst of his first novel. The two protagonists are tangled up together in a competitive literary reprisal of The Floating Opera, the writer John Barth’s first book. Despite his admirable pursuit of fun and experimentation in fiction, Barth often seemed to want to make things hard on himself. Like with a lot of artists, he tended to be his own worst enemy.
In a 2002 Salon interview, critic Leslie Feidler was asked which of postmodern writers would survive and endure. Feidler said, “I used to think Barth and Hawkes had a chance. I’m not so sure now. Barth’s most recent book was terrible. And he sorta knows it too, I had a note from him which mentioned the reviews.”
Updike wrote to Barth in November 2008. He said he had only read the first story in Barth’s new book, The Development. He wrote, “I needed to pluck up my courage to continue, especially since. I have just emerged from testing the waters of mortality in three days at Boston’s finest, MGH. Your description of the hectic banality of retirement havens almost makes mortality look good.”
Updike had just been diagnosed with advanced stage lung cancer. Eight weeks later, on January 27th, 2009, he died.
Barth immediately wrote to Martha, and she responded, “He began writing the final verses of Endpoint in that hospital bed and continued at home where he finished before Christmas…He died eight weeks after his diagnosis, at the end of January.”
Updike had some faults – most notably a nonchalant misogyny – but there was much more that was miraculous about his writing. Rabbit, Run, in gritty lyric detail, conveys the American dream as the American nightmare in the way it renders young Harry Angstrom stumbling after happiness in a place like Brewer, Pennsylvania. Updike once described his own style as “an attempt to give the mundane its beautiful due,” and he did do just that. He also published an incredible number of books – 24 novels, 16 books of nonfiction, 14 collections of short stories, and 10 books of poetry.
John Barth, too, wrote more than most readers would be likely to get through. Yet there are moments in his catalog that are wildly inventive, strange, and brilliant; the influence of certain Barth stories and novels ripple conspicuously across the works of writers like Nicholson Baker and David Foster Wallace, who went on to generate monumental influence on their own terms. Barth’s story “Lost In The Funhouse” is metafiction at its peak. Ambrose’s anxious journey through the story’s funhouse becomes a perfect metaphor for the reader’s passage through the story itself. In certain places, the plot pushes forward and the story gains momentum. In others, it gets stuck in mirrored corners. “The important thing to remember,” Barth writes, “is that it’s meant to be a funhouse; that is, a place of amusement.” Barth’s embrace of this principle – as he considers funhouse architecture and simultaneously inspects the mechanics of storytelling – transforms the piece into something sinisterly buoyant and incredibly smart. The writer, narrator, and reader experience all the joys and setbacks of the journey together. The story is passionate, angsty, and a bit existentially terrifying. “For whom is the funhouse fun?” the story opens. “For Ambrose it is a place of fear and confusion.”
Barth’s early success in metafiction inspired him to continue in that vein, and it eventually led to the surge of negative criticism for the books that came later in his career. “Metafiction’s real end has always been Armageddon,” David Foster Wallace once said in an interview. “Art’s reflection on itself is terminal.” Barth, though, kept fighting to mine life from his metafictional flights, writing longer and longer books to do it.
In their later letters, Barth continued to express admiration and respect toward Updike. Updike returned the praise, though more often with soft mentions that he hadn’t quite finished Barth’s most recent books. As was always the case, Barth took solace in the discrepancies between their respective genres, but it got more difficult for him as the state of their critical acclaim split. The thorniness of the relationship begins to show as the letters go on.
Updike never abandoned Barth, though. Updike and Barth rose as important literary figures around the same time, and largely behaved as compatriots until the very end. In the 1990s, Updike spotted a news clipping featuring Barth in which Barth had been quoted saying, “Just now, I’m completely enthralled by and engrossed in John Updike’s book. There’s a writer who’s very unlike me who I admire enormously for his productivity and his talent.” Updike underlined the passage and wrote, “I do thank you for the generous words. But I don’t think we’re very unlike. We’re both sons of the hard-working, temperate Middle Atlantic region, twice married, depression-conscious, and stuck with the belief that there is such a thing as American littrachoor.”
Images courtesy of the Special Collections Research Center at Johns Hopkins University. A physical exhibition on the writer John Barth will be mounted in the Johns Hopkins George Peabody Library in Fall 2015.
After a weak year for movies, this Sunday’s Academy Awards promises more than the usual number of surprises. Will we watch The Curious Case of Benjamin Button rack up 13 Oscars, eclipsing Ben-Hur… or will we watch it edge out The Color Purple for a dubious record: most nominations without a single award? Will we thrill to the wit and wisdom of austerity-measures host Hugh Jackman… or will we find ourselves longing for the deft comedic timing of Charlton Heston? What we surely won’t see is a sweep for the film version of Revolutionary Road, which strikes me as more startling than any of the scenarios outlined above. To put it bluntly: Revolutionary Road is pure Oscar bait. It boasts a powerhouse production team (director Sam Mendes, cinematographer Roger Deakins, and co-producer Scott Rudin) and a terrific ensemble cast. It has the kind of marketing hook Oscar loves: it’s Kate and Leo’s first joint outing since The Highest Grossing Film of All Time.Most importantly (with apologies to The Reader and Ben Button) it has the most impeccable literary pedigree of any movie released this year. “Hollywood is a visual town that reveres what it reads,” as The New Yorker’s Tad Friend wrote a few years back. “A classy book connotes New York, taste, and depth.” And yet, when the nominations were announced last month, Revolutionary Road was up for a paltry three statuettes. What gives? The most plausible explanation is some sort of baroque intra-Academy intrigue of the sort that robbed Bruce Springsteen of a nomination for The Wrestler. But I’d like to suggest, for the sake of argument, that the problem lies in the source material – that Revolutionary Road, the novel by Richard Yates, may, for fairly interesting reasons, be unadaptable.Revolutionary Road now looks like some kind of high-water-mark of urbane fiction. Soon after its publication, loose, baggy monsters such as Giles Goat-Boy and Gravity’s Rainbow would seize the high ground of literary fiction, reflecting the entropic tendencies of the larger culture. But in 1961, the novel still seemed perfectible, and with this book Richard Yates came as close as anyone has to perfecting it. A synopsis sounds straightforward: Frank and April Wheeler settle in suburban Connecticut at the peak of the postwar boom, only to find themselves spiritually and aesthetically ill-at-ease with their surroundings. They dream of being something more than (respectively) a Man in a Gray Flannel Suit and a housewife. Yet their pursuit of the numinous will threaten to destroy them.This story is easily caricatured, by those who haven’t bothered to read the book, as a denunciation of suburban life – precisely the sort of novel Frank Wheeler might have written. Yates makes painfully clear, however, that the obstacles the Wheelers face are as much internal as external. An ironist of almost infinite subtlety, he spends much of the book revealing Frank and April’s grasping as no less “hopeless” and “empty” than the neat little subdivision streets that give the book its title. Whatever greatness they possess falls victim to their self-absorption.For all its bleakness, Revolutionary Road is often quite funny. The mediating principle between the comedy and the tragedy, the satire and the sympathy, is Yates’ pitch-perfect voice. His free indirect narration hews for the most part to Frank’s point-of-view, so that even as we see Frank’s posturing, we are drawn into sympathy with him. At times, the subjectivity of Yates’ descriptions borders on the visionary:How small and neat and comically serious the other men looked, with their gray-flecked crew cuts and their button-down collars and their brisk little hurrying feet! . . . . The waiting midtown office buildings would swallow them up and contain them, so that to stand in one tower looking out across the canyon to another would be to inspect a great silent insectarium displaying hundreds of tiny pink men in white shirts, forever shifting papers and frowning into telephones, acting out their passionate little dumb show under the supreme indifference of the rolling spring clouds.Even as Frank sees his town-and-country life as “comical,” his eye (for “canyons”, for manly “containment,” for those supreme clouds) betrays its attractions. Flattering himself as a man apart, he is acting out his own “passionate little dumb show.” This foible is, of course, not unique to Frank. And as with Jonathan Franzen’s Lamberts forty years later, we can’t sit securely in judgment; we don’t even quite know where to stand.All of which is to say that I was concerned when Sam Mendes – surely one of our most portentous filmmakers – was directing Revolutionary Road: The Movie. It seemed likely that Mendes might miss the irony and give us American Beauty meets American Graffiti: a jeremiad against the Cold War dorps of the Metro North. True to form, Mendes does go a bit crazy with the foliage toward the end of the movie; it’s as if he believes that beauty (and his films are beautiful, in a way that sometimes borders on kitsch) only serves as a mask for the general hideousness of human beings. For the most part, though, my fears were unfounded. Mendes is as finely attuned to the posturings of Frank and April as he is to the fatuousness of their real estate agent and the generic idyll of their neighborhood.Moreover, the acting in Revolutionary Road is excellent. Kathy Bates, Michael Shannon, and Zoe Kazan turn in fine supporting performances. DiCaprio takes a little getting used to – he still looks like a teenager to me – but as he grows into the lead role, he reveals the depths of Frank’s frustration. And the great Kate Winslett turns in a terrifically intense performance as April. Mendes, who is her husband, loves to fill the screen with her, and for good reason.The film earns its nomination for an Art Direction Oscar. It is lovingly upholstered, filled with the trappings of the Eisenhower era. (Rarely does a scene pass without its complement of martinis and coffees and cigarettes; no wonder these people are so moody.) Despite (or perhaps because of) its reverence for its source material, however, the movie misses the key ingredient: the voice. Subjectivity is easy for a novel to do; indeed, we might say that objectivity in fiction is merely an illusion. Film, however, is relentlessly literal, and Mendes never bothers to figure out a way to finesse this – to give us that “great silent insectarium,” for example.He does offer compelling interpretations of certain scenes, the way one might interpret Shakespeare or Chekhov. He is particularly interested in the constraints April suffers because of her gender. But Yates is not a playwright, he’s a novelist, and the magic of this particular novel is its ability to take us inside its characters. Only in the final seconds of the film does Mendes abandon his handsome neutrality and attempt to figure out how to make film do what literature does. It is too little, too late.And so one ends up wondering, what’s the point? Revolutionary Road, the movie, has resisted the temptation to condemn a particular set of social circumstances; instead it has gone to the other extreme, making Frank and April’s problems so particular that it seems to have little to say to anyone who isn’t them. The solution to their unhappiness? Suck less.Up against this year’s other Oscar bait, Revolutionary Road holds up fine. But it has to meet a higher hurdle: it’s up against a great book. For all its fine craftsmanship, its entertainment value, its essential dignity, it doesn’t add anything. Unlike Yates’ novel, it does not command our sympathy; it merely commands our gaze.Bonus link: Your printable Oscar ballot (pdf)
Today I happened to walk by one of those thrift stores connected to a hospital, and, thinking they might have a couple of shelves of books, I decided to stop in. I’m glad I did. The books were way in the back in this weird garage-like annex, and the room smelled pretty bad. This made browsing unpleasant, but I had a theory that the odor might have kept prospective shoppers out – more books for me. The store was also right on with their pricing: 50 cents for paperbacks and a dollar for hardcovers, which, in my opinion, should be the standard pricing scheme if the customer has to sift through messy, disorganized shelves. The selection turned out to be pretty great, and I had to restrict myself to only the best books I could find – books that I was surprised enough to see on the shelves that I felt passing them up would be criminal, so I ended up leaving a lot of pretty good stuff behind. If I had bought everything I wanted, I would have had a hard time getting home on the el, and furthermore, empty bookshelf space is somewhat scarce in my apartment these days. So it was only the cream of the crop for me.I grabbed three hardcovers: The Biggest Game in Town by A. Alvarez. I was working at the bookstore when the poker craze started getting pretty big, and this classic from 1983 was one of the books we recommended to people wanting to read up on the game. I also found a copy of Philip Roth’s American Pastoral, which I’ve been told is one of his best. And I was delighted to spot baseball guru Bill James’ out of print treatise on the Hall of Fame, Politics of Glory. I also snagged a pocket paperback edition of John Barth’s Giles Goat-Boy. All in all, a pretty good haul.