Levi Asher on Kerouac

Levi Asher: “Why does it seem necessary to emulate Jack Kerouac’s travels in order to write about him? I’ve read much critical work on Joseph Conrad, but I’ve never yet heard a scholar claim to have first read Heart of Darkness while actually steaming up the Congo.”

I wish Levi had cited specifics about the professional critics who “still view Kerouac condescendingly when they praise him,” but I suspect he didn’t have enough space to go into detail. Overall though, it’s a nice piece, and I hope Levi expands his considerable thoughts on Kerouac elsewhere.

Those Who Asked for Teresa Weaver’s Job to Be Saved Are “Competitors”

The September/October 2007 issue of Poets and Writers includes an interview with Teresa Weaver, in which she is asked about the future of book reviewing and gives this answer:

I have to say I don’t feel optimistic about it, as far as newspapers go. I think magazines are going to have to step in and pick up some of that slack. A lot of it is a resource problem: Newspapers are struggling right now, they’re redefining themselves, and there’s a lot of discussion going on everywhere about what direction they should take. I line up with the school of thought that newspapers should consist of more opinion, commentary, and analysis that people can’t get anywhere else, rather than trying to compete with the Internet on breaking news.

Beyond my concern that the two “sides” of this battle are on opposite ends of the fence (So we’re competitors now, eh? As someone who writes for both online and print, I’m wondering if I should cut myself in half or something.), I must say that Weaver comes across as decidedly ungrateful about the very medium — and its concomitant petition — that was used to generate awareness about the Atlanta Journal-Constitution‘s books section.

Might the Blogosphere Meet the Bill?

“American creative energy has always teetered on the brink of insanity. ‘Rhapsody in Blue’ and ‘The Night Chicago Died’ have, alas, common DNA, the DNA for ‘joyfully reckless confidence.’ What I propose as an antidote is simply: awareness of the Megaphonic tendency, and discussion of same. Every well-thought-out rebuttal to dogma, every scrap of intelligent logic, every absurdist reduction of some bullying stance is the antidote. Every request for the clarification of the vague, every poke at smug banality, every pen stroke in a document under revision is the antidote. This battle, like any great moral battle, will be won, if won, not with some easy corrective tidal wave of Total Righteousness, but with small drops of specificity and aplomb and correct logic, delivered titrationally, by many of us all at once.”

— George Saunders, title essay from The Braindead Megaphone

Please Get In Touch Off-Blog

If there are any NY-based blog readers fluent in Japanese, please get in touch with Sarah off-blog. If there are any Japan-based blog readers fluent in New York, please get in touch with me off-blog. If there are any NY-based blog readers fluent in Esperanto, please record your words and send me a link to an MP3 file. If there are San Francisco-based bloggers who want to tell me what I’m missing right now, please get in touch with me off-blog and send cruel JPEGs of gigantic burritos. If there are any experienced New Yorkers who want to try and put me in my place, please get in touch with me off-blog and use a cat o’ nines if you must. If you are a deviant longshoreman, I can think of several places you can get in touch with me off-blog, although I won’t tell you what to do or where I am, but I’ll set you up with someone who will probably be interested in what you’re looking for. If you are a deviant longshorewoman, you can’t get in touch with me off-blog because I’m dating someone right now, but see the previous sentence. If you are neither deviant nor a longshoreperson, then please get in touch with someone off-blog as soon as possible because you’re missing out on some of the fun things in life. If you don’t get in touch with someone off-blog, then please find a way to touch someone who doesn’t have a blog without any sexual harassment. If you speak a language that no blogger has heard of, please get in touch with someone who knows how to start a blog because it’s probably an exciting tongue. If you are a wearing a toque to cover a bald spot, please have someone off-blog touch the top of your head because it’s probably not as bad as you think it is.

Alistair Harper: Chickenhead of the Month

It’s been a long while since I awarded anyone the “Chickenhead of the Month” prize, but Alistair Harper comes to us from across the Atlantic with a stupidity that is simply too remarkable to let slip.

Alistair Harper knows nothing of the publishing industry. His whole thesis is wrong. How he got to be a Guardian blogger or paid to write is truly amazing. His charge — that “the chip on [Stephen] King’s shoulder as big as the vast American states that are usually his setting” — does not hold. I don’t believe that any author can truly control the nonsense that appears on book covers. Harper doesn’t seem to understand that once a manuscript is turned in, the author is often at the behest of marketing forces. Because the publishing industry is, you know, an industry. And an industry expects to sell products. Or does Harper honestly believe that the publishing industry is in this bookselling business for the philanthropy? If phrases like “words are his power” or “this book will cause you to sodomize a goat” will sell more units, then the publishers will put these words, however preposterous, on covers to sell books. And how is King being uncertain about the shelf life of his work egotistical? Newsflash to Harper: When it comes to nonfiction, King is often as subtle as a Bengal tiger running around Grand Central, and he would be the first to admit this. He is, as he mentioned in Danse Macabre, a self-described “burgers and fries of literature.” And had Harper even bothered to read the introduction to Blaze, for crying out loud a few pages he could have flipped through in a bookstore*, a book that this sad illiterate hasn’t even bothered to examine, he’d realize that King extensively rewrote the book. This hardly a case of a manuscript merely being “dusted off.” And how is it egotistical exactly to want to finish a series when a million readers — many of whom have written King letters and expressed hopes that he would finish, as indicated in the same introduction that Harper quotes from — clamor for it? Has it not occurred to Harper that King simply cannot stop writing? That isn’t egotistical. That’s the mark of a hypergraphic personality.

If Harper hates King, he should simply be honest and say so. But in hiding behind this “Stephen King has an ego” gambit, he attempts to pretend, like some bumbling teenager trying to figure out how to open up a golden Trojan package but too afraid to ask for help, that it’s about King the person and not King the writer. This is hubris of the first order. It’s the kind of thing you expect from 1600 Pennsylvania, not 119 Farringdon Road

* — The UK edition likewise possesses an introduction by King. If it is different from the US edition, please feel free to correct me.

The Case for John Barth

If literary blogs exist to dredge up the underrated authors of our time, I must ask why the litblogosphere, so capable of unearthing the neglected, has remained so silent concerning the great novelist John Barth. If Gilbert Sorrentino, William Gaddis, and David Markson cut the mustard with their postmodernist innovations, then Barth likewise deserves a spot in the This Guy is the Real Deal pantheon. Here is a novelist who playfully uses first person plural in Sabbatical to represent a romantic escapade on the Chesapeake Bay with the apparent descendants of Edgar Allan Poe and Francis Scott Key. Here is a novelist who, in his early trilogy of novels The Floating Opera, The End of the Road, and The Sot-Weed Factor, takes the piss out of absolutist thinking: Todd Andrews, the protagonist of The Floating Opera, is an attorney who contemplates a moment in his life when he should have died. The answer to his conundrum might lie in the ridiculous logic he uses in relation to a court case, unearthed in hilarious fashion over a protracted “logic” reminiscent of the crazy legal brief in William Gaddis’s A Frolic of His Own. Jacob Horner’s reason for living in The End of the Road is predicated upon following the dicta of a mysterious Doctor, with the series of instructions being woefully misunderstood and employed in an insensitive manner that even Horner doesn’t seem to see. Consider, for example, the way that Barth describes this moment in which Jacob Horner shares dinner with the Morgans:

Since there were only four chairs in the kitchen, Rennie and the two boys and I ate at the table while Joe ate standing up at the stove. There would have been no room at the table for one of the sling chairs, and anyhow it did not take long to eat the meal, which consisted of steamed shrimp, boiled rice, and beer for all hands. The boys — husky, well-mannered youngsters — were allowed to dominate the conversation during dinner; they were as lively and loud as any other bright kids their age, but a great deal more physically co-ordinated and self-controlled than most. As soon as we finished eating they went to bed, and though it was still quite light outside, I heard no more from them.

Who is this guy? Is this really a sad domestic situation or is Jacob Horner more concerned with externalizing every situation he comes across? We have all sorts of general details about who this family is and what the dinner entails, but why can’t Jacob Horner pinpoint anything about them? Why the strange comparative qualifiers compared to other boys? Why the concern for the boys’ conversation? These are the questions that pop up when reading a Barth novel.

Likewise The Sot-Weed Factor, possibly Barth’s masterpiece, frames a hypocritical concern for virtue using a real-life historical figure (Ebeneezer Cooke) over the course of a playfully picaresque novel.

Why not Barth? He regularly subverts conventional narrative. He is very funny and regularly irreverent. He is often unapologetically preoccupied with sex. He sneaks in little tidbits about mythology, history, and little-known procedures of the law. And his work often bristles with a warm-hearted sense of mischief, even when the scenario being described is an extremely troubling one involving abortion, rape, or suicide.

If Barth can be accused of any literary crimes, his rap perhaps involves an overwhelming preoccupation with Maryland and Virginia history and a restless ambition. Nearly every Barth reader I’ve talked with gave up on LETTERS at some point. It was the most ambitious volume that Barth produced, involving characters from Barth’s previous novels writing letters to a guy named John Barth. After LETTERS, it seemed that people wanted to forget that Barth even existed. (He is still alive, presumably residing somewhere around the Chesapeake Bay.) Even I, when I first read Barth a decade ago, failed to continue reading Barth’s works in sequence. But now that I’m reading one of the novels that came after LETTERS, Sabbatical, I’m finding it to be a great surprise, just as fun and inventive as his early work. And LETTERS is due for a serious reassessment. (LETTERS and Sabbatical, incidentally, are available from Dalkey Archive Press.)

I have been rereading Barth’s novels in a rather odd manner over the past month, starting with the first two and now including Sabbatical and The Sot-Weed Factor, the latter of which I am reading for the third time. If anything, the playfulness and narrative tinkering that first wowed me when I was feeding on a variety of lengthy and ambitious novels in my early twenties has resonated more.

Has Barth in some sense declined over the years? I don’t think so. I think the guy still has it, even though my reading of his post-LETTERS books remains limited. Nevertheless, I have now obtained almost all of his novels and I aim to figure out precisely what happened.

In the meantime, I jam this message into the bottle and throw it into the tidewater. I cannot be the only guy out here who thinks John Barth is the cat’s pajamas. So what of you, readers? If you tried out Barth, why did you put him back on the shelf? Or have you remained silent over the past few years because Barth ain’t exactly the heppest cat to rave about? Well, I’m here to tell you that Barth is the real deal! You are not alone! Let’s make some noise and get people talking about Barth! Who’s with me?

[UPDATE: Dan Green, wryly quoting me in the manner of a film publicist truncating blurbs, points out that he has written about Barth. The specific words I used were “so silent,” which is not to suggest total silence, but a comparative qualifier. Dammit, let’s make some noise!]

On Adam Gopnik’s Ridiculous Philip K. Dick Essay

There’s nothing more exciting to a literary enthusiast than a once overlooked and perhaps mainstream writer like Philip K. Dick being seemingly considered by The New Yorker. But Adam Gopnik, a reductionist blowhard who I suspect is not much fun at a cocktail party, prefers reactions to Philip K. Dick over the text itself, revealing his true Hooked on Speculative Fiction colors in failing to apply complexity to a phenomenon that clearly deserves it. His take is that of a new parent, perhaps of a psychotic temperament, seriously considering crib death as his first option — as antipodean from understanding the how and the why as a critic of any sort can get. This is a desperate assignment carried out by a man who would declare all manner of generalizations about what he thinks Dick’s work and science fiction is about, but who is not so much interested in recalibrating his own prejudices as he is in flaunting his own apparently superior tastes. Humility and cross-genre flexibility would seem two qualities that come to Gopnik with some difficulty.

pkd.jpgIt’s a pity that even someone as purportedly half-hearted as Luc Sante wasn’t assigned the piece, for surely Sante would have spearheaded his assessment, as he did with his recent Kerouac piece, towards the text first. This is what any decent critic should do. Gopnik does quote text, but he is frequently at odds against the Dick boosters — unnamed, uncited — with his countless cries of J’accuse!

Rather than attempt a precise assessment for why PKD has influenced writers as diverse as Jonathan Lethem and Matt Ruff, and for why his work has been transformed into many movies, and for why the Library of America felt it necessary to honor this apparent genre hack by enclosing four of his books into a single volume, we get instead a clumsily contrarian assault upon literary enthusiasm and an assault upon literary influence. How dare the natural course of human passion extend to such apparent drivel as The Man in the High Castle rather than The King in the Window! How dare this same apparently unstoppable current draw its attention to the grimy drugged out underworld rather than elevated expatriate observing from Paris!

Let’s be clear. Gopnik did not have it easy. To attempt a Dick assessment is to wrestle with a quite insane individual who composed a 35 million word diary, who believed that various agents were out to get him, and who likewise felt compelled to write by any means necessary. I will agree that attaching a label like “Genius” to Dick or to proclaim that Dick could do no wrong is to elevate some of his purpler prose to veritiginous heights. But it is with this kind of literary absolutism is where Gopnik has his greatest problems. For Dick, with his intense imagery, was undeniably special. Why can’t a writer be compared to both Italo Calvino and Robertson Davies? What causes a writer to get two seemingly antipodean comparisons? And who are those who are making these claims? (Gopnik, grappling the elusive “they” like an alcoholic clutching his brown bag, does not ever say.)

Gopnik does not seem to understand, for example, that the Hugo Award was quite a different accolade in 1963 than it was today. Both the Emmanuel Carrère and Lawrence Sutin biographies — in particular, the former — suggest this. Before science fiction became somewhat respectable, spurred in part by the increasing acceptability of geekdom in the 1990s, it was considered a field populated by kooks, shifty-eyed magpies, and other assorted lunatics. Gopnik’s considerable ignorance (and elitism) continues when he writes, “There were a million places to write sci-fi in those years, publishers eager to have it, and readers eager to argue about it.” Is Gopnik implying here that there was no significant difference between meticulously edited monthies such as Astounding, Galaxy, The Magazine of Fantasy & Science Fiction, or slightly more experimental offerings like New Worlds, and the endless fanzines distributed at conventions? Is he truly not aware of the New Wave movement? Is he not aware that it was not until 1969 when Ballantine began to take science fiction seriously with the Ballantine Adult Fantasy series? Is he not cognizant of the battles that Donald A. Wollheim fought against distributors to keep Thomas Burnett Swann’s How Are the Mighty Fallen in circulation despite its gay-themed content? Or familiar with Harlan Ellison’s Dangerous Visions volumes — anthologies that offered necessary kicks in the ass in response to the publishing industry’s puerile ideas about genre and ended up selling more than anybody had thought?

During Dick’s time, there were definitive limitations in place about what science fiction could and could not do. dick may not have been “unfairly neglected” by the science fiction community, who certainly saw the magic that shone through Dick’s prolfiic output. But he was, like many great writers who just happened to be writing science fiction stories, certainly “unfairly neglected” by the snobbish nitwits who looked down on genre in the way that Howard Hughes was terrified of bacteria. Adam Gopnik, happily no doubt, is certainly living up to this stuffy tradition.

Let us also consider Gopnik’s characterization of Dick:

He seems to have been a man of intellectual passion and compulsive appetite (he was married five times), the kind of guy who can’t drink one cup of coffee without drinking six, and then stays up all night to tell you what Schopenhauer really said and how it affects your understanding of Hitchcock and what that had to do with Christopher Marlowe.

As the two cited Dick biographies made perfectly clear, it was not a “compulsive appetite” that caused Dick to be married five times. Perhaps it’s too much of a common sense conclusion for Gopnik to ponder, but when a man believes he is the center of the universe, stays up at all hours to write (often on speed), and repeatedly goes to the police because he believes people are watching him, chances are that he’s going to have a few marital difficulties.

We also get grand generalizations from Gopnik such as “Dick tends to get treated as a romantic,” such Alfred E. Neuman-like insights as “he did see questions in vast cosmological terms,” and gross oversimplifications like “[t]he typical Dick novel is at once fantastically original in its ideas and dutifully realistic in charting their consequences.” Gopnik claims that Dick’s books “belong to a particular time,” but fails to discern how Dick dutifully filled his books with such prescient terminology as “broad-band.” And he condemns Dick for his prolificity. “[O]ne thing you have to have done in order to have done in order to write eleven novels in two years is not to have written any of them twice.” Cite examples much, Gopnik?

Gopnik does at least offer an interesting comparison between Dick and another Philip, but he lacks the perspicacity or the know-how to compare Roth’s middle period against Dick’s oeuvre, much less offer any textual examples showing where he sees these associations.

Overlook such concessions as “beautiful and hallucinatory” in relation to Ubik (after all, the Library of America must have some validity in republishing Dick), and one sees quite clearly that Gopnik comes not to praise Dick, but to bury him.

But Gopnik, who seems to think he’s being a contrarian here with this essay, is doing no such damage. The Dick legacy will live on and perhaps infuriate Gopnik further. The New Yorker readers bobbing their heads up and down over this malarkey probably weren’t going to sample Dick anyway. And in the end, Gopnik has given the New Yorker as predictable a take as they likely expected. It’s decidedly unsophisticated for a magazine that claims to be sophisticated.

Responding to Tod Goldberg

Tod Goldberg has so outdone himself with this very funny post that I feel compelled to respond to him on a point-by-point basis:

1. Whenever I see young children, I do my best to keep my “fucks” to a minimum. I am a polite person. But because I say “fuck” with a cheerful frequency in many social settings, this effort at restraint often backfires. A parent then looks to me, as if putting the face to a photograph she has seen on the Megan’s Law database (never mind that I have no tattoos and don’t look particularly creepy when I have remembered to shave), when I am only treating the kid as an adult and I am only trying to be friendly.

The way I figure it, on any given day, a child bears a considerable brunt harsh linguistical terminology. Indeed, if the environment I experienced two decades ago is comparable to the present, a child’s schoolyard pals are likely to say things far cruder and decidedly more pernicious than anything I could possibly posit in my early thirties. I wish these parents would understand that I reserve my true invective for the true assholes of the world. More often than not, they generally aren’t six years old, even if they may act that way. (To this day, I cannot muster up much in the way of anger towards a character like Richie Rich, despite the great likelihood that he will grow up to be an insufferable asshole. Bless the good folks at Harvey Comics for not going that postpubescent distance.)

Mr. Goldberg’s observations, then, don’t even begin to scratch the surface of a hypocritical double standard that nobody wants to talk about. Are kids really as innocent as their parents claim them to be? Will they really be permanently scarred if they hear about serial killers or overhear the word “fuck?” Are they not more resilient?

(The other thing I don’t get, while we’re on the subject, is how this “don’t swear” dictum is likewise associated with old people, as if old people have never done drugs, fucked in unusual positions, or otherwise experienced active or accidental debauchery — or, for that matter, are presently incapable of misbehaving. This assumption presumes that old people are somehow lesser, which is certainly not the case at all. If anything, with more years on their belt, old people have probably committed countless acts that would cause mere straplings to blush. Ergo, hail the old people! Hail the children! Hail all chronological representatives of the human race!)

2. It isn’t wrong to be obsessed with a song at all. The world today produces more covers of any given tune than it generally needs, presumably because there’s a paucity of vanguards operating at the musical forefront. (Justin Timberlake’s Futuresex/Loveshow? I don’t think so. I find the idea of Justin Timberlake as a sex symbol repellent and ethically objectionable — in part, because this semiotic juxtaposition spawns a terrifying image of Timberlake indolently grunting over a twenty-two-year-old who never bothered to try it any other way but missionary. I have come close to vomiting upon seeing that clean-cut, take-no-chances, white-suited assclown’s image on the subway, caught frozen as he attempts to dance, his spindly wrist barely able to clutch the mike. He cannot dance. Perhaps it’s because he is trying to do too many things. It’s bad enough that he cannot dance during the course of a performance. But the still image in question — if you have seen it — demonstrates that even caught during his best moment, posed to promote some Timberlake ideal, he is a clear incompetent.)

But I have digressed. I usually do.

Okay, cover songs. Every once in a while, there is a good one like Kate Bush’s version of “Rocket Man” or Scissor Sisters’ “Comfortably Numb.” And it is certainly better than Timberlake. So long as Mr. Goldberg isn’t searching around for clips of Justin Timberlake on YouTube, I think the world will be safe for democracy.

3. I don’t think there have been many suicides that ended up clean and grief-free for a suicidalist’s friends and family. In fact, because suicide is such a selfish and shitty thing to do to other people, it doesn’t interest me in the slightest. I’ve always figured that if you were curious enough about life, you could carry on living quite well. I think the happiest people are often those who are the most curious, those willing to find joy and laughter in everything, those who are determined to keep on going in spite of the world’s many faults because the human race does something pretty stellar every once in a while. Or at least this is the sort of “happiest person” I like hanging around. Of course, I bring my own judgments to the table, like any curious savage, although they are always subject to change. One man’s “happy” is another person’s “insufferable,” as the old saying goes.

If Mr. Goldberg is going through something right now, I apologize if I am coming across like some flippant asshole. I don’t intend to. I’m simply trying to understand his question myself, and I don’t think I have an answer.

4. Even if a writer can live up to tough assessments, he will unceasingly believe at some point that he is misunderstood, only to be whacked in the head by a benevolent colleague, persuaded to snap out of it, and proceed to produce.

5. We all want to believe that the Raiders have some kind of chance. This is one of the purposes that the Raiders serve. And if they started winning, then they really wouldn’t be so much fun to root for. They are, as I have written elsewhere, a glorious team of thugs. The players who go onto the field, and commit all manner of needlessly violent plays which then elicit many penalties. And it’s the same each year. Their reliance upon veteran quarterbacks (Rich Gannon and now Daunte Culpepper) is quite wild. They rely upon guys who simultaneously advance yards and throw intereceptions (as Gannon did five times in the 2003 super Bowl), often in the same four downs.

In other words, this is not a team to rely upon. But they are great fun to watch and to hope for.

There were several other points here that Mr. Goldberg addressed, but I fear this may be too long a post. Perhaps what’s necessary here is to have all blog responses to blog responses start with Tod Goldberg.

Not Tony Blair by a Long Shot

Despite the fact that Robert Harris’s The Ghost involves a former British prime minister attempting to justify a war in the Middle East, Harris insists that his character Adam Lang is not — repeat, NOT — Tony Blair. Despite a ghost named John Smith (it’s a common enough name; lay off Harris!) appearing to haunt Adam Lang’s residence, Harris insists that this is not Tony Blair. Despite Adam Lang being routinely referred to as “smooth and creamy little bitch” by the President of the United States — also fictitious and also NOT George Bush — Harris insists that this is not Tony Blair.

And despite the presence of a British author named Bobby “Big Shot” Harrison in a manuscript I have been working on for the past three years, with Harrison routinely cribbing experience from past friendships in order to write “novels” while remaining deftly afraid of the more stringent libel laws in the United Kingdom, Harrison is not — repeat, NOT — Robert Harris.

More Rupert

It was a great pleasure to meet all the fine folks who introduced themselves at the Rupert Thomson reading last night. I didn’t take notes and will leave all reports of what went down to others, but I met Zan, Monica (didn’t catch the name of your blog!), Dana, and the Martin Amis-obsessed Nick Antosca for the first time, as well as Maud, Levi, Lauren, Ami, Phil Campbell, Matt Cheney (now firmly ensconced in Jersey), and the always pleasurable Richard Grayson for the post-first time. (Apologies if I’m missing anyone!) Thanks also to Jessica Stockton for helping to organize the event.

As it so happens, Rupert Thomson and I hit it off. At the time of this writing, we are currently midway through the interview. Since I had so many questions, he was very kind to squeeze in a few more minutes to conclude the interview. So be prepared for a fun and highly detailed two-part Segundo interview, conducted over the course of two days, concerning many aspects of Rupert Thomson’s work.

Draconian Distribution Tactics at Angus & Robertson

Steven Beattie exposes a remarkable arrogance from Australian book chain Angus and Robertson. The hubris was directed towards small to medium-sized distributors. According to The Sydney Morning Herald, Angus and Robertson is now demanding that distributors pay between A$2,500 and A$100,000 to keep their books stocked in the stores. In a letter from ARW Group Commercial Manager Charlie Rimmer to Tower Books’s Michael Rakusin, complete with attached invoice, Rimmer wrote:

We have recently completed a piece of work to rank our suppliers in terms of the net growth they generate for our business. We have concluded that we have far too many suppliers, and over 40% of our supplier agreements fall below our requirements in terms of profit earned. At a time when the cost of doing business continues to rise, I’m sure you can understand that this is an unpalatable set of circumstances for us, and as such we have no option but to act quickly to remedy the situation.

Accordingly, we will be rationalizing our supplier numbers and setting a minimum earnings ratio of income to trade purchases that we expect to achieve from our suppliers.

The letter caused Rakusin to respond with a lengthy letter of his own, which reads in part:

In summary, we reject out of hand this notion that somehow, even giving you 45% discount on a Sale or Return basis, with free freight to each of your individual stores, where we make less than half of that on the same book, puts us in the “category of unacceptable profitability”. We have seen Angus & Robertson try this tactic before – about 12 years ago Angus & Robertson decided that unless we gave them a 50% discount, they would not buy from us any longer. We refused. Angus & Robertson desisted from buying from us for seven months. We survived, Angus & Robertson came back cap in hand.

We have seen Myer effectively eliminate smaller suppliers. We survived and prospered but look at the Myer Book Departments today.

We have seen David Jones decide that it had too many publishers to deal with and to exclude the smaller suppliers. We survived and prospered but look at the David Jones Book Departments today.

David Jones and Myer sell other goods; Angus & Robertson does not.

That the contents of your letter of 30 July are both immoral and unethical, I have no doubt. That they probably contravene the Trade Practices Act, I shall leave to the ACCC to determine. (Five percent interest PER DAY !!!)

As Beattie observes in his post, Tower Books is hardly the runt of the litter. It handles the Australian distribution for DC Comics, the Hachette Book Group, the Overlook Press, and many more.

Angus & Robertson Chief Operating Officer Dave Fenlon responded to all this at Crikey, attempting to set the matter straight. Fenlon confessed that “the tone of this correspondence was inappropriate” and observed that A&R had sent letters along the lines of Rimmer’s to 47 of its 1,200 suppliers. (By contrast, New Matilda reported a few days later that A&R wrote to “more than 160 local publishers giving them just over two weeks to shell out thousands of dollars.”) Fenlon wrote:

Again, let me assure you that this is not about penalising authors. It is about establishing commercial arrangements with our suppliers that are viable for both parties and that allow us to offer the best value to our customers.

If a bookstore chain uses such strongarm tactics towards a particular distributor — perhaps the only distribution conduit for a particular author — how is an author not penalized by this? (Rakusin also responded to this letter, observing, “How does Mr. Fenlon explain the incongruity between his claim that he has 1200 suppliers and has sent letters to only 47 of them when the Australian Publishers Association says that more than 70% of APA member publishers have been contacted by A&R, either directly or via their distributor?”)

I plan to do more digging on this story. Not only does this reflect a troubling scenario comparable to the AMS bankruptcy earlier this year, but this could very well set an international business precedent. If an Australian bookstore chain can get away with sending unexpected invoices sent to distributors, demanding a premium payment because the profit margin is not as staggering as they desire and effectively blackmailing distributors, what is to stop a bookstore chain in another country from attempting the same?

Rupert Thomson Tonight

This is a reminder that Maud Newton will be interviewing Rupert Thomson tonight at 7:00 PM at McNally Robinson. Please be sure to check this out, as this is a rare American appearance by one of today’s most underrated fictive stylists. I know that a number of litbloggers and other swell folks will be there. So stop by and say hello.

To get up to speed on Thomson, check out Thomson’s first appearance on Segundo (a second appearance is forthcoming), as well as James Hynes’s “The Dreamlife of Rupert Thomson.”

Who Pays Attention to the Line Anymore?

Glenn Greenwald: “To this day, many people, including myself, cite the Padilla case as the ultimate wake-up call to the true character, the genuine soul, of the Bush administration. Imprisoning a U.S. citizen, on U.S. soil, with no charges of any kind, and then keeping him for years completely incommunicado, is just one of those lines which many people believed would never be crossed in America. That this bright line was crossed, and crossed so explicitly and with so little controversy, was an unmistakable sign of just how much of our national character was being eroded, just how limitless was the attack on our basic constitutional framework, just how profoundly our political press was failing.”