Blogroll Restored

Over the last few weeks, you may have noticed the gradually restored “Friends, Romans, Countrymen” blogroll. Well, it’s taken a few weeks. But now I think I have everybody back. (Sadly enough, three people on the last blogroll had actually died.) But if I somehow missed you, please remind me so that I can get you back on the list.

[RELATED: Since the Technorati tags experiment didn’t really work out, I’ve replaced this with some new categories, which will be introduced gradually in the months to come.]

Morning Roundup

  • Does the apple fall far from the tree? Owen King would prefer that nobody knew about the apple at all. Owen is Stephen King’s son and has a new book out called We’re All In This Together. Whatever We’re All‘s literary merits, we’re absolutely confident that nepotism and King’s connections had NOTHING WHATSOEVER to do with the book getting published. Perhaps like other sons of famous authors, Mr. King’s talent will be separate from his father’s and we’ll see him pen a small chapbook called Invasion from the World of Warcraft.
  • As widely reported in the blogosphere this morning, the Washington Post has issued a retraction for Marianne Wiggins’ review of John Irving’s Until I Find You. It seems that Wiggins was married to Salman Rushdie, who in turn is a longtime friend of Irving’s. Ron, David Montgomery and Sarah have posted their thoughts on this issue. The question here is where the line is drawn. If a reviewer has exchanged emails with an author (which appears to be the Post policy), it seems preposterous to me that this will sully one’s critical perspective. (And in fact, I’ve struck up a few unexpected and amicable email volleys with authors whose books I’ve ruthlessly panned.) If the publishing industry can swing between art and commerce swifter than a disco king, than surely the reviewer can negotiate the much simpler divide between the parquet floor of the books and the authors who dance on it. We’re adults here, not junior high school students. Apparently, the Post doesn’t seem to believe that an adult is capable of disagreeing with someone while remaining cordial in person.
  • Poet Laureate Ted Kooser gets up at 4:30 AM each morning to write his poetry and wants to bring poetry to the people.
  • Benjamin Kunkel plunges into Balzac’s Lost Illusions.
  • The Gentleman of San Francisco, one of the first works of Russian poet Ivan Alekseyevich Bunin has been translated and published. It only took ninety years to get around to it.
  • Richard Herring and Stewart Lee have returned to the Edinburgh Fringe Festival after 18 years. They are determined not to turn into Ben Elton.
  • And while there may be more memoirs right now than ever, Andrew O’Hagan says there’s reason to celebrate over this.

Author Websites: A Case Study

Jonathan Lethem’s site appears to have undergone a major overhaul. In addition to a snazzy redesign (with truly bizarre Toho-inspired artwork for Gun with Occasional Music), Lethem’s uncollected work has been assembled in one spot — including an essay called “Donald Sutherland’s Buttocks.”

Now while I can’t find any specific reference point on the website for a Lethem completist, something that lists everything Lethem has written and which book(s) it can be found in, Lethem’s openness here (which appears inspired somewhat from Michael Chabon) is the right way for an author to run a website. The sooner that authors and publishers realize that having a silly splash page and scant information about a book is no way to get people interested in it and the more they embrace providing sizable samples of the author’s work, book tour schedules, a comprehensive catalog — in short, information and lots of it — the better it will be for everybody.

An Open Note To Virginia Hefferman

[SIX FEET UNDER FANS: Spoilers ahead. Proceed, only if you’ve seen the episode.]

Yo, Virginia. I’m enjoying the final episodes of Six Feet Under too. But it’s just a TV show. That you would willingly bring Fortinbras and Lionel Trilling into the equation, while completely overlooking the likely Clare-Nate consummation (which seemed strongly implied, given the episode’s final shot of Clare lying on the bed), suggests a deconstructionist who needs to inhale and exhale for several hours, get out of the house, and inhabit the real world for just a whit. Television is hardly as intricate as you make it out to be. I know your editors expect you to sound smart. But really, Virginia, we’re talking Alan Ball here. Not exactly Mr. Subtle.

Peter Jennings: The Missing Link

So Peter Jennings is dead. No doubt the paeans will be composed and filed tonight and tomorrow’s newspapers will yield the usual uncritical obits. They’ll tell you how Jennings was the last active member of the Holy Trinity of Brokaw, Jennings and Rather, about how Jennings was the final remnant of a certain time in television journalism (if one doesn’t consider that phrase an oxymoron), and about how Jennings was a decent guy (or at least appeared to be a decent guy).

But for anyone who contemplates shedding a tear or observing a moment of silence, I have to ask an important question: Did Peter Jennings ever ask a tough question in his life? And if he did, did it come during the past twenty years? Because I sure as hell don’t recall Jennings giving us much more than somnolent narration not dissimilar from a half-baked nature program.

Perhaps I’m fired up right now because I’ve just read this week’s New Yorker and I found myself horrified by Ken Auletta’s article on morning TV talk shows, “The Dawn Patrol” (unavailable online). Aside from that ol’ time sophistication, Auletta’s article is no different from a People Magazine profile in the way that it fawns over its subjects without blinking even a quasi-skeptical eye. Or maybe it might be my outrage after reading Norman Solomon’s new book, War Made Easy, which offers countless examples of how the media has, over the past forty years, repeated the boiler plate of official government memos without deviating, never really daring to doubt or question actions for fear of retaliation, along the lines of what happened to Ray Bonner when he dared to uncover the truth about the El Mozote massacre and found himself pushed out of the New York Times newsroom or when Elizabeth Becker faced resistance when uncovering the truth about Khmer Rouge for the Washington Post and the New York Times (as chronicled in part in Samantha Power’s excellent book, A Problem from Hell).

I recall that my mother liked Peter Jennings a great deal. He was, I suppose, a source of comfort — ironically enough, it took a Canadian to lull Middle America. For her and for many other Americans, Jennings’ soothing voice conveyed an illusory world that was far less problematic than the real one. And it was all because he was an affable, well-liked man who threw softball questions at his subjects more effectively than a batting cage machine.

But I would argue that one can remain reasonably well-liked and maintain a certain credibility. Let’s compare Jennings with, say, Walter Cronkite (incidentally, still quite alive), once considered “the most trusted man in America.” Cronkite had the cojones to declare, “There is no way this war can be justified any longer” after touring Vietnam in 1968. In fact, it was Lyndon B. Johnson who once opined, “If I’ve lost Cronkite, I’ve lost Middle America.”

Jennings was far from a Cronkite. Or even a Walter Winchell. If anchormen can be likened to a recidivist evolutionary chain extending from Walter Cronkite to Matt Lauer, then Jennings was the missing link that took whatever edge that remained in television-based journalism, suffusing it into a safe and inoffensive approach.

He was a calm, telegenic man who read his words from the TelePrompTer with all the care and duty of a dependable savant being asked to play a recital piece in front of a easily assuaged crowd. He was likable. And in being well-liked, who knows how many viewers he led down the rabbit hole?

I don’t blame Jennings entirely for this. Ultimately, this problem is endemic of the current system. And I’m sorry that he died of cancer. But at a time when only Karl Rove can get the White House press pool to rake Press Secretary Scott McClellan over the coals, at a time in which Americans are so desperate to find someone to trust that they turn to a comedian like Jon Stewart to get their news, and at a time when an anchor’s credentials are judged not by journalistic chops, but by how well-liked, coiffed and curvy they are, it seems to me a disgrace that we prefer to take solace in those who are well-liked rather than the journalists who dare to provoke or tell the truth. In short, celebrating Jennings is, in a strange way, ignoring those who dare to do the work of a journalist, television ratings and focus groups be damned.

Hugo Award Winners Announced

This year’s Hugo Awards Winners are up. Here are the literary-related winners:

Best Novel: Jonathan Strange & Mr Norrell by Susanna Clarke (*sigh*)
Best Novella: “The Concrete Jungle” by Charles Stross
Best Novelette: “The Faery Handbag” by Kelly Link (Hurray!)
Best Short Story: “Travels with My Cats” by Mike Resnick
Best Related Book: The Cambridge Companion to Science Fiction, Edited by Edward James and Farah Mendlesohn
Best Professional Editor: Ellen Datlow
Best Professional Artist: Jim Burns
Best Semiprozine: Ansible
Best Fanzine: Plokta
Best Fan Writer: David Langford
Best Fan Artist: Sue Mason
Best Web Site: SciFiction
John W. Campbell Award for Best New Writer (not a Hugo Award): Elizabeth Bear
Special Interaction Committee Award (not a Hugo Award): David Pringle

Music Review: John Bolton’s “Time, War and Tendinitis”

Shortly before being confirmed as United Nations Ambassador, John Bolton once again embraced his musical side with his sixth album, Time, War & Tendinitis, which continues the flatline yet soothing sound that Bolton established on his previous album, Soul Destroyer. Without even bothering to shave his ridiculous moustache, Bolton has somehow created an album that has gone on to sell six million copies, mostly to aging, BMW-driving accountants who have finally come to terms with the fact that they have no real taste in music.

his new albumHis chief collaborator this time around is former Republican Justice Earl Warren, whose death in 1974 did not preclude Bolton from sifting through Justice Warren’s treasure trove of bad poetry and hastily written lyrics. Warren penned half of the songs on this album and his passion for that old-time war hawk feeling can be heard on the album’s highlight track, “When a Man Loves a Weapon,” a loving paean to both the cold war and unilateralism.

But while Bolton’s album cannot be played when you’re making out in the back seat with your girlfriend, Track No. 5, “Now That I Found God” is a melodious little romp to play if you’re ever feeling alone or isolated after you’ve told everybody in the world that you and only you are right. Bolton’s bark is indeed as bad as his bite, as he croons during the second verse, “I could’ve screamed forever/And never realized/The terrorists of our lifetime/Were anyone else inside your eyes.” Never mind the fact that “realized” and “eyes” don’t actually rhyme. This song is more concerned with the advantages of corruption and abrasive authority. As another odious solo from Kenny G plays in the background, Bolton then barks at several unidentified underlings in the studio, expertly berating them while tying this into a fundamenalist jangle that reaches a crushing crescendo of hate and inflexibility. (One leaves this particular track wondering if Bolton is truly suffering from tendenitis or if the pain in question is psychosomatic.)

Alas, such a hate-filled mainstream sound cannot last for an entire album. Near the album’s end, Bolton sounds as if he’s had the wind knocked out of him. On “Save Me,” Bolton sings this chorous: “Warrior you’ve gotta save me, oh warrior don’t you drive me crazy.” Shortly after each round, we hear the distinct sound of something being unzipped and other things that cannot be mentioned in a family newspaper.

Still, this is a solid record for priapic neocons, with nary an olive branch offered for anyone outside Bolton’s obdurate and controversial political ideology.

Reading Habits, Technology and the Hypothetical Rise of the Short

It was worth ruining my eyes
To know I could still keep cool,
And deal out the old right hook
To dirty dogs twice my size.
— Philip Larkin, “A Study of Reading Habits

Each person has a different approach to reading. Some folks read in ten minute chunks. Others read in three hour clusters. Some read daily. Others read every week. Some read only nonfiction. Others read only fiction. Some read only on the toilet. Others need to be sitting nude on a mat, preferably in a yoga position for maximum meditation. Make up your own dichotomy and throw it into the pile like a pair of used cufflinks.

The very real question I have, inspired by this anecdotal post at the Shifted Librarian on how game culture has shifted productivity patterns, is whether any approach to reading is wrong, or whether the act of reading itself should even be concerned with something that smacks of schoolmarm etiquette. (These guidelines, for example, suggest that vocalizing or moving lips while one reads is bad. I must therefore conclude that every so often, particularly when I am perusing something that begs to be vocalized, I am a very bad reader indeed.) After all, since we’re talking about an act that is largely solitary, my gut feeling is that the only person who should be concerned with the question of the right way to read and the wrong way to read is the reader herself.

Greogry Lamb has suggested that computers have changed the way that people read, but his article dwells more on how people are learning to increase their WPM reading rate (or using reading supplements like highlighting tools, including a site being devised by the Palo Alto Research Center to annotate Hamlet with endless scholarly commentaries). It says little about, say, the nauseating sensation of reading a 100,000 word novel on a computer screen (as opposed to a 2,000 word essay, which is more managable for the eyes and head) — a prospect that is likely to change as displays come closer to resembling paper (both in feel and resolution). (Many of these developments are being chronicled at the excellent Future of the Book blog.)

Since magazines and newspapers are seeing their subscriptions slowly plummet (with even such one-time staples as TV Guide resorting to drastic overhauls), there is the additional question of whether reading, at least as it pertains to magazines and newspapers, has adopted a time-shifting quality that we have been more willing to attribute to TiVo and podcasting, but that we aren’t willing to apply to articles. This strange stigma may have something to do with the fact that much of this reading is done on company time, whether through the reader sitting at her work desktop reading an article in its entirety or disguising this malingering through effective one-browser window aggregators such as Bloglines or printing it off using company paper to read it on the subway home. Who wants to mention this when it’s legitimate grounds for a grievance?

In other words, technology has enabled a remarkable workforce cluster to read by subterfuge (possibly for short-length articles). Perhaps they read because it’s a revolutionary act that, outside of web tracking software, can’t be completely gauged — sort of like jerking off on the clock.

Despite these clear advantages, there still remains a remarkable faith in technology which might be out of step with the tactile advantages of reading books, to the point where undergraduate university libraries have pared down their books to a mere 1,000 volumes and it is now inconceivable for today’s college students to leave home without an arsenal of technology.

But if libraries and educational institutions become based almost solely around technology, where lies the future of reading? While there are plenty of studies indicating that reading is dropping and there remains some debate over whether this is a “sky is falling” alarmism (which Kevin Smokler and Paul Collins challenge in Bookmark Now) or a problem that needs to be addressed, none of these studies seem to indicate, to me, a much more telling trend: what type of reading are people doing precisely? Do they prefer shorter content such as a 2,000 word essay or a short story? Is there a correllation between a proclivity to read things on the Internet and the drop in “reading literature” announced within NEA’s “Reading at Risk” report? Certainly, the ascent in chapbooks such as Harry G. Frankfurt’s On Bullshit to the bestsellers list cannot be entirely overlooked.

If shorter reading experiences are the future (in part or in whole), then I would suggest that the short story has a fantastic new life ahead and that The Atlantic Monthly, in dropping short fiction entirely from its pages (and in failing to allow non-subscribers to access their content), is ass-backwards. Big time. Unless of course they see a new market in chapbooks or content siphoned directly to today’s tech-savvy reading base.

About Schmidt

about schmidt So according to CNET:

Google representatives have instituted a policy of not talking with CNET News.com reporters until July 2006 in response to privacy issues raised by a previous story.

The story in question revealed a variety of personal information about Google CEO Eric Schmidt (all findable through Google) and made a point about Google collecting detailed personal information about its users that it doesn’t make public.

It seems that Google has a double standard here.

Mike Leigh’s Naked on DVD

Years ago, when I was a gaunt student, I had the opportunity to pick up the Criterion laserdisc edition of Mike Leigh’s Naked (one of my favorite films from the 1990s and one that you should watch immediately) for what was then a colossal sum: thirty dollars. Never mind that I didn’t own a laserdisc player. But I did conjure up some cockamamie idea about duping a VHS copy from a friend’s laserdisc. I demurred on my purchase, only to learn months later that the disc had gone out of print.

mike leigh\'s masterpiece A decade has now passed since that fateful day. Never did get a laserdisc player, but I did get me a DVD player well before it was fashionable. And even though I later got the opportunity to interview Mike Leigh (who, go figure, was a major hardass in person), many tears were shed over the fact that this film, an unapologetic masterpiece, a brutally honest and almost Doestoevskyian depiction of a drifter (played brilliantly by David Thewlis) and the lives he seems to alter and disrupt (when in fact it may be other lives and class trappings that alter and disrupt him), never made the jump to DVD.

Until now. Come September 20, Criterion will finally release this brilliant film to disc. I’m not certain if the commentaries are going to be reflective of the laserdisc ones or freshly cooked up for the DVD. Either way, this film’s ballsy magnificence, multilayered characters and deceptively fragmented narrative cannot be overpraised. And if you have any cinematic awareness whatsoever and still have not seen this film, then I urge you to fill in this cultural gap immediately. Hell, if I run into you at Ameoba come September, I will put this disc into your hands and persuade you to buy it.

The film is one of those rare Rorschach tests that presents oodles of multilayered human behavior for viewers to parse. You’ll constantly question how characters relate to each other, why they relate to each other, and how they can even stand each other. And then you’ll find out more details about them and understand why. Maybe. Because in Mike Leigh’s universe, there are a lot of gray areas and certainly no clear-cut explanations. The reason the film’s characters are so vivid is that Naked is perhaps the summation of Mike Leigh’s filmmaking technique, which involves improvising and developing characters with actors over the course of six months and only then working out what the film is about.

The Post-Insomnia, Sleep-Deprived Roundup

  • It looks like Soft Skull Founder Sander Hicks has opened up a bookstore/cafe. Before it was called Vox Pop, it was apparently styled “Down With the Man.”
  • Kelly McMasters talks with Lydia Millet, who asks, “Why not be as bold as ‘Tristram Shandy’?” I’d take that sentiment a few steps further and suggest, “Why not be as bold as the Old Testament?” After all, with all that violence and cruelty and magical realism in there…oh, never mind.
  • The next hot trend? Australian surfing literature.
  • Shakespeare & Company isn’t the only bookstore going strong after 70 years. In Palo Alto, Bell’s Books continues to persevere.
  • In Moraga, mysterious scrapbooks containing odd newspaper clippings from 120 years ago were left on the doorstep of the local historical society. No one knows where these painstakingly collected scrapbooks came from them. But it was either leaving the scrapbooks or a baby in a basket. The owners decided at the last minute that they wanted to keep the kid, overpopulation crisis be damned.
  • Hiroshima haikus. What next? Auschwitz cantos? Oh wait.
  • Francis Ford Coppola’s On the Road film project has, at long last, received the green light. Because this is a loose autobiographical version, the filmed Kerouac will be about 100 pounds heavier than the real Kerouac and own a winery.
  • In Chicago, Steppenwolf will be featuring all new plays this season. Interestingly enough, they receive about 1,000 submissions a year. The remaining 990 or so will be staged at Slamsteppenwolf, Slumsteppenwolf and Nosteppenwolf.
  • If you’re into Wagner and you live in Seattle, you have until August 28 to catch the four-opera marathon version of Ring des Nibelungen Like the King Tut museum in Los Angeles, it will only be schlepped out again when Germany needs cash.
  • The Michael Jackson trial coverage isn’t over by a long shot. There are book deals to be had. What next? A finger-painting diary from Bubbles portraying Jackson’s stress during the days leading up to the verdict?
  • Paul Theroux used drugs to write his new novel. He also used this paltry sensationalism to get a CNN article.
  • And did we mention how much we heart Defamer?

Books by the Bay Podcasts

The San Francisco Chronicle, one of the few newspapers right now offering podcasts (not even the L.A. Times can say this much), has made David Kipen’s interview with Gus Lee (from this year’s Books by the Bay) available. Of course, it’s only a mere excerpt. But it’s the closest thing to being there.

(The Crime Time panel is also available. And all this sure beats uncomfortable fangirl moments with Charo.)

Michael Jackson’s On Deck as the Pitchman

I certainly hope Angry Asian Man is all over this one:

Counterpunch: “One recurring theme which runs through most of the promotional ads for skin-whitening posted at Asia registered internet sites is the claim that skin-whitening cosmetics can transform the ‘yellow’ skin tones of Asian women to flawlessly ‘radiant’ white. These advertisements often deploy the visual technique of ‘before’ images of ‘unhappy,’ ‘dark’ faces of ‘Asian-looking’ models and ‘after’ images of smiling ‘whitened’ faces of the same models .”

The “We Were Too Sluggish From Tuesday Night’s Festivities” Roundup

  • Robert “Two Sheds” Birnbaum is at it again. This time, he talks with Camille Paglia. The real question here is whether Camille was ever confused for a pirate incarnation of Princess Leia.
  • The Tireless Dan Wickett is now talking with publicists as part of his latest panel series. We suspect that Mr. Wickett will be interviewing some of the people in the warehouse before the year is up.
  • We could honestly care less about the Quills Awards, largely because Nick Hornby and Sue Monk Kidd should not be encouraged any further. But if you care, the nonsense can be found here.
  • A new symposium will compare Bruce Springsteen’s lyrics with Walt Whitman and Samuel Beckett.
  • Apparently, The Almond: The Sexual Awakening of a Muslim Woman is, according to the Daily Star, “no more original than that of the film 9 1/2 Weeks, without the soundtrack to keep it going.”
  • Yo, Book Babes, it’s Epileptic, not Epilepsy.
  • A sketch of Ted Hughes drawn by Sylvia Plath is up for auction this fall.

“Death by Asphyxia” is the New “Shot While Trying to Escape”

Washington Post: “Two days before, a secret CIA-sponsored group of Iraqi paramilitaries, working with Army interrogators, had beaten Mowhoush nearly senseless, using fists, a club and a rubber hose, according to classified documents. The sleeping bag was the idea of a soldier who remembered how his older brother used to force him into one, and how scared and vulnerable it made him feel. Senior officers in charge of the facility near the Syrian border believed that such ‘claustrophobic techniques’ were approved ways to gain information from detainees, part of what military regulations refer to as a ‘fear up’ tactic, according to military court documents.”

The Scariest Two Sentences I Am Likely To Read This Week

dear lordSeattle Post-Intelligencer: “But after a career in television news and sports and as a musician recording albums and performing concerts, Tesh is back on radio in earnest. He is host of a nationally syndicated show heard on more than 200 stations around the country.”

The way I believe it works is this: if you have a frightening Nordic forehead and your musical contributions involve banging primitive arrangements onto a keyboard (not unlike a passive-aggressive caveman), you will, indeed, find work.

[RELATED: Developmentally disabled people are very excited about Huey Lewis & The News. (this link via MeFi)]

This Being Said, Almost Anyone Is Better Than Rex Reed

Over at the Book Standard, Adam Langer presents a taxonomy of interviewed authors. The categories Langer presents are The Freewheeling Improviser, He/She Who Does Not Suffer Fools Gladly, The Unself-conscious Subject, The Consummate Storyteller and The Genuinely Decent Human Being. It’s not a bad list, but, without naming names (and this certainly doesn’t apply to any of my Segundo subjects thus far, who have all been fantastic) and drawing upon my experiences in journalism from the late ’90s, I’d also include The Chronic Plugger, He/She Who Will Only Speak in Soundbytes, The Most Important Voice of Our Time, and the TMI Exhibitionist.

mikeI have to disagree somewhat with Langer’s claim that it is the subject’s duty to respond in erudite fashion to the questions. While it does indeed take two to tango, it is the interviewer’s job to find a common ground, to figure out early on how revelatory a subject is likely to be and adjust accordingly, to know the right time to stray from the prepared questions, to provide as comfortable a setting as one can have under the circumstances, and to ask a critical or provocative question at the right moment. Speaking for myself, one thing I’ve noted is that I tend to ramble too much. I’ve begun taking steps to rectify this. And the silly preamble “I’d like to touch upon…” seems to enter my vernacular when I’m talking with someone. Practice, I suppose, makes perfect.

[RELATED: There’s an interesting discussion over at Scott’s about what constitutes a stupid interview question and whether or not this is even a factor.]

(via Moorish Girl)

Zeitchik Bolting to California

Galleycat has the scoop on Steve Zeitchik, who is decamping Publishers Weekly for Variety. Zeitchik, in addition to being an able moderator, was careful to put small and independent publishers into the great picture through his and, like us, hoped to bridge the gap between the popular and the literary. We hope that the allure of Hollywood won’t taint his game or sully his glass table.

Music Moves the Savage Text

While it is quite true that Continuum Books publishes an abnormally large collection of titles on Pope Benedict XVI (aka Joseph “Harry Potter is Satan’s Spawn But Adolf Was Okay When I Was a Kid” Ratzinger), I’d be remiss if I didn’t mention their 33 1/3 series. If you thought that Nick Hornby’s solipsistic (and, one might argue, somnabulistic) Songbook was the high watermark of literary musical musings, then you ain’t seen nothin’ yet. The work here is as passionate as Hornby’s, but it cuts across a more nuanced latitude: something that goes beyond Pitchfork-style snark or a particularly plodding personal essay about how an individual song or album is meaningful to the writer.

Depending upon the writer and the level of scholarship (others might say obsession, but then music lovers are often as febrile as literature lovers), the contributors here go out of their way to put songs and albums into a larger context, with telling details of David Bowie’s coke-fueled paranoia during the Low sessions or framing Neutral Milk Hotel’s In the Aeroplane Over the Sea within the larger context of the highly influential Elephant 6 collective.

Continuum was kind enough to send me a sampler. And one has to marvel at how even within this modest collection (surely not intended for me to peruse like this), innocuous deconstruction turns into something a little more cheeky and meaningful in the process. Here’s Geoffrey Himes, for example, writing about Bruce Springsteen’s “Born in the USA”:

“Born in the USA”: the phrase was so pithy and evocative that all he had to do was repeat it four times and he had his chorus. In its ability to sound like both a sentence of doom and a hopeful declaration of optimism, it was infinitely better than “You died in Vietnam.” But the song’s music ws still wrong; the verses were still too wordy, and the story didn’t quite cohere.

And Himes is just getting started. Only a few pages later, he’s enunciated the song’s narrative and meaning, put it into the context of Springsteen’s career, and dwelled upon its almost serendipitious recording history. (Jon Landau dismissed the demo as one of Springsteen’s “lesser songs” and when the E Street Band got together, the song was more improvised than one would suspect.)

Other books in the series include Andy Miller riffing on the great underrated Kinks album, The Village Green Preservation Society, Allan Moore on Aqualung, John Cavanagh on Pink Floyd’s The Piper at the Gates of Dawn, Ben Sisario on the Pixies’ Doolittle and a book of interviews with DJ Shadow on Endtroducing.

And speaking of music, I should also note that I was recently sucked in by Michael Nesmith’s Elephant Parts, a 1981 direct-to-video compilation of Nesmith videos and comedy sketches — including a game-show spoof called “Name That Drug” and a foreign film scene performed in gibberish (with subtitles to boot). I’ve no idea how this endearing little film fell off the cultural radar. Elephant Parts, produced roughly around the same period that Nesmith was sowing the early seeds for MTV (for better or for worse), is one of those rare offerings that is simultaneously subversive and innocuous.

Bay Area Writers Group Forming

Like damn near every litblogger, we too have a novel that we’ve been working on that is progressing at a slow but steady clip. (Yes, we never sleep around here.) While we’re loath to announce anything that isn’t particularly finished*, the whole point of this post is to seek fairly serious (serious about the art, but not humorless!) writers based in the Bay Area for a fiction writers group that is being put together right now with a few other nice and passionate people.

We hope that this group will be brutally honest, but encouraging. Ideally, candidates should have steady bullshit detectors, a working knowledge of literature (meaning you read at least a book every two weeks and know what omniscient voice is), and passion to boot. Good grammar and basic storytelling skills are musts.

We should point out that this will be the first writers group we’ve been involved with in a while. Our last foray into the writers group world proved catastrophic, with nearly all of the short stories being written in second person and one unnamed person going in detail about all the coke she sent up her nose the previous night. This person then explained to us in great detail about the drug-related debauchery she was planning on engaging in that very night and responded to our story with the observation “Cool, I guess, but what’s a panegyric?” She failed to elaborate beyond this.

We should point out that all this was many years after the publication of Bright Lights, Big City.

We later came home and sobbed over how we were seduced by this seemingly credentialed coterie (a few were MFAs) and how this (again unnamed!) writers group took us in for saps.

But we have faith in this new writers group. These people are on the level. So if you’re interested, do drop us a line. Email address is to the right.

* — To wit, the novel is so loosey-goosey and unhoned right now that one character has been temporarily named “Bill Dungsroman.” Hardy har har!

Future Scholars Will Infer Meaning from Dubya’s Crude Doodles

If you’ve ever wanted to know how presidential libraries operate, now’s your chance. According to Dr. Jay Hawkes, presidential libraries are “some of the most important and unique libraries in the country.” The tradition began with FDR, who donated all of his personal and presidential papers to the federal government in 1939. In 1955, Congress passed the Presidential Libraries Act, establishing a system of libraries. And the Presidential Records Act of 1978 deemed all presidential records the property of the federal government. (via Rare Books News)

The Interwining Legacy of Things That Inexplicably Scare the Bejesus Out of You and Fiction

Written just after the author stepped into rush hour traffic and before he dared to look out of his own window before returning to his computer, Ian McEwan’s novel “Saturday” creates a hero who dares to live out a privileged lifestyle and worriedly thinks about his investment portfolio. It is fear, directed towards the expected and the humdrum and the implausible, that drives Mr. McEwan’s masterpiece. Today this fiction may seem as prophetic as Elizabeth Kostova’s “The Historian,” which features a palpable portrait of vampires tapping into victims while on the run. But both authors agree that today’s fiction is designed to present things that will scare the bejesus out of you, with ordinarily stable minds rushing to FOX News and conspiracy-themed newsletters in search of further things to be frightened about.

“We can never have enough things to be frightened about. I myself am terrified of half-cooked foie gras,” Mr. McEwan wrote in an Op-Ed piece just after enjoying a six-course meal on the very day of the London subway and bus bombings. (His article appeared simultaneously in Gourmet and Ladies’ Home Journal.) That same day Ms. Kostova wrote on her Web site, “The bombings sadden me. But, on the bright side, sales should boost up as people look for more things to be afraid of.”

soccer mom'With such inevitability and the persistent strain of soccer moms fearing that the terrorists could firebomb the small-town high school fields they regularly frequent at any second, some of the most ambitious novelists are not only addressing this climate of fear but going a bit hogwild in their depictions, leaving a legacy that is not only quite silly but good for drawing half-baked generalizations that can be referenced while engaged in pretentious cocktail party banter. This is what Mr. McEwan calls “the complacent stage,” a needlessly introspective and self-absorbed novel just after a big success (in this case, the remarkable “Atonement”). It would appear that this complacence is shared by Michael Cunningham’s “Specimen Days,” which is also considered a critical disappointment. Cunningham’s most recent novel offers Walt Whitman’s poems as the cure-all elixir. Have a drinking problem? Read “When Lilacs Last in the Dooryard Bloomed.” Feeling depressed (perhaps suicidal?) because your local Whole Foods Market decided to close early and you couldn’t get cheese made with coagulating enzymes? “O Captain! My Captain!” is right around the corner.

The important thing these days is for novels to reflect an almost pathological neurosis that only the richest 10% of our society can understand. This will then, in turn, perpetuate irrationally conceived fears in literature which detract from more pressing dilemmas.

The Bat Segundo Show #4

the bat segundo show #4

Approximate Date: July 31, 2005

Authors: Amanda Filipacchi and Kevin Smokler

Condition of Bat Segundo: In an unspecified condition of “pain.” More sober than usual, pining for scotch and merlot.

Subjects Discussed: Stalking, dark comedy, intense behavior, Harriet Klausner, chick lit, keeping lists, sex, the politically incorrect, the menage a trois, class-based characters, free time, book tours, the relationship between publishers and online literary venues, FSG and Christopher Sorrentino’s Trance, the next generation of writers (McSweeney’s as homogeneous voice?), the telegenic requirements of writers, the cult of personality, clarifying the “Reading at Risk” controversy, the intentions of Bookmark Now, literary standards vs. enthusiasm, the Iliad as logline, responding to the “writing in unreaderly times” flap, individual vs. group reading, explaining the Nicholson Baker acknowledgment.

Yes, We’ve Sold Out

Finally, one of our esteemed colleagues had the balls to point out the obvious. All this time, while we organized groups to discuss neglected authors, delved into the world of podcasting, and had the temerity to redesign this site so that it was easier on the eye, our purpose all along was to start reading junk like Dan Brown and J.K. Rowling. To hell with Chris Sorrentino, Lee Martin, Kirby Gann, or Elliot Perlman. Pay no attention to Soft Skull or Melville House. All along, it’s been our secret desire to lie to you about the hacks and the wastrels who continue to have their work published because it sells.

That’s because we’re apparently a “mainstream bookblogger.” We’re so mainstream that we successfully avoided the cut at Forbes — lest they announce our grand deception to embrace the capitalist system in all its totality. It’s why we flew to New York for BookExpo. We slept with at least fifteen publicists while we were there and had a tray of canapes served on a publicity manager’s back. We called her “Rover.” She barked every time we put a Ben Frankin in her mouth. Word on the street is that we’re now something of a “sugar daddy.”

We used our sizable LBC influence to ensure that a book as scabrous and mainstream as Kate Atkinson’s Case Histories won the last round. And rest assured, the book with the biggest publicity budget will win, come September. Substantial checks are being sent as we speak.

It was our maintream status, of course, that forced us to renounce the Tanenhaus Brownie Watch and that compelled us to avoiding any image-invisible content.

Selling out has, in fact, been the best possible thing we’ve ever done. And we encourage you to do the same. Because that’s the way things work in 21st Century America. The men with the fine suits always win.

So buckle up, kids. You can be sugar daddies (and sugar mommies) too!