Friday, April 14, 2006

Radio, Radio

So fun to listen to tune in late to a long NPR interview and try to figure out who is being interviewed. I heard a man with a lovely accent, Caribbean--no, African--talking with great assurance about his own rightness. He spoke about corrupt regimes in Africa and the role he had had in bringing them down and I wondered, is this man corrupt, too, or is he a great an noble person, a hero? He spoke about his experience of Independence (he was a young man, in college) and his rather quick recognition that the new, black leaders were not much less corrupt than the English who had just left and I thought about a great story by Bessie Head and also about the phenomenon of the “big men” that Ama Ata Aidoo skewers in Our Sister Killjoy. (The “big men” are European-educated Africans who return home to Africa and, although they know how to drive, insist upon having drivers [often men who do not know how to drive and crash the cars], and proudly spend time with the whites in Africa and wax nostalgic about Mother England.) But it took me a long time to know who was speaking.

Then, he spoke about Nigeria and Nigerian literature and, at last, I figured it out: Wole Soyinka! Hurrah! A wonderful interview on the Leonard Lopate show. Soyinka will be at the 92nd St. Y on Monday. You can find a link to a review of his memoir over at Moorish girl:
Events: Wole Soyinka will be speaking
Monday, April 17 at 8 pm
The 92nd Street Y
For tickets, call 212-415-5500 or visit 92y.org


Leonard Lopate is also co-hosting the May BBC book club in NYC which will discuss the work of another towering African writer, Chinua Achebe. You can actually go to the taping and ask a question in person. Or, submit one via email. Wow!

I’m late to this whole newfangled podcasting thing, but as I write, I’m listening to the Bat Segundo show. If you haven’t downloaded any of these interviews, do. They’re funny and moving and great. He’s had two really BIG gets this month—Erica Jong (who is right now talking about what she thinks about The Da Vinci Code) and Jay McInerney. Don't know if I have the stamina for more McInerney--that might be too much of an 80s hangover for me--but the Jong is terrific. Boy I like her. You can see that she's a good teacher.

Finally, and not on radio, be sure to pop on over to the Lit Blog Co-op. Discussions of the spring nominees and the spring Read This! selection start on Monday. Mail off your taxes and tune in. In a change of procedure, we’re announcing the summer nominees early. They are:
  • Michael Martone by Michael Martone from FC2
  • White Spirit by Paule Constant (translated by Betsy Wing) from University of Nebraska Press
  • Skin by Kellie Wells from University of Nebraska Press
  • Crawl Space by Edie Meidav from FSG
.
Beautiful Nebraska! Two nominees!

Monday, April 10, 2006

Copyediting: the final frontier

I sent the manuscript off to Chennai at noon today. I won’t see it again for six weeks when it will be in proofs. Finally, my publishers took note of my grousing and asked their own people in New York to look at the job that was done. They agreed with my assessment that, for every error the copyeditor found, she missed two. The NYC production manager even offered a list of corrections to three of the pages. These run along lines like this:
  • page 31, line 2: should be “beliefs” not “belief”
  • page 31, line 4: clause unclear, ask author for clarification. Perhaps “and at her”?
  • page 32, line 3: comma required after “see”

In short, they look like copyediting. Of the eight or so items on his list, I had caught six or seven, so I am not such a bad copyeditor. Still, this means that roughly one per cent of my manuscript has now been properly copyedited by my press.

Now, anyone who writes a scholarly book would be deluded to think that the world waits with bated breath for its arrival. However, it hurts to have that worldly indifference enacted so flagrantly by one’s own publisher. Still, I do think there are good things in my book and even occasionally enjoyed revisiting some of the ideas I tease out. In short, as utterly demoralizing as this experience has been—and it’s been one of the worst, if not the single worst, writing experiences of my life—I am striving not to turn my animus on the book itself.

There is good news, however. The press—or its contracted agency—will input all my corrections and print them out again. This corrected typescript will then be given to a senior copyeditor at the same company who will copyedit it a second time. These corrections will then be set to proof. I will receive a copy of the second round of copyediting alongside the proofs. This way, the proofs will be as clean as possible and I’ll get to see for sure what the senior copyeditor has changed. They have assured me, too, that I won’t be charged for changes at the proof stage.

I’m putting this all behind me as of now. But I have enjoyed reading others’ stories of the road to publication and I thought my sad little tale might make for some good schadenfreude among my readers. My experience is certainly different from Michael Berube’s, who got to copyedit his book in the UNC Press offices where people actually seemed to care about his getting idioms right:
I’m still in a copyediting frenzy, and my plane for State College leaves in two hours. I finished the page proofs for What’s Liberal about the Liberal Arts? last night, having spent the entire day slogging through the first copyedit of Rhetorical Occasions. But I had the odd experience of copyediting a book for the University of North Carolina Press in the offices of the University of North Carolina Press, surrounded by the people who’ve been working on the book for the past year. That was cool. Also extremely efficient. Whenever I ran into a snag, I would just holler randomly down the hall: “hey,” I hollered randomly, “is ‘cohort of theorists’ singular or plural”? This launched a learned debate about whether “cohort” implies the kind of collectivity and loss of individuality one associates with “herd,” since of course “herd” is singular. It was finally decided by a 17-12 vote that “cohort” is plural, which suggests that the staff of the UNC Press are a cohort rather than a herd.

But then, I’m no Michael Berube.

Thursday, April 06, 2006

Copyediting III: the Nightmare continues

So this is what it comes down to. After years and years of work, in the final few days, I need to decide: is it “counter-public sphere” or “counter public sphere”?

(Reasonable scholarly sources are split; I picked the hyphen.)

Monday, April 03, 2006

Poetry Month

In honor of poetry month, here’s one especially for Bud who’s been battling rats!

The Rats by Georg Trakl (1887-1914)

In the yard the autumn moon shines white,
The roof-edge drops fantastic shadows;
A silence dwells in the empty windows
From which the rats now quietly plunge

And flit about, squeaking, here and there;
A grayish misty exhalation
From the outhouse sniffs after them,
Spectral moonlight trembling through it,

And the rats brawl avidly as if mad
Filling up the house and barn loft
Already full of grain and fruit,
Icy winds whimper in the yard.

I came across this wonderful, spooky little poem in John Hollander’s collection, Animal Poems for young people. It’s got challenging, lovely poems by great poets and vivid lovely illustrations that bleed to the edge of every page, giving the book extra intensity. Simona Mulazzani did them.

I love the way the poem does not quite tip its hand about its attitude to the rats: there’s more sympathy for them than I generally have, but they are still spooky, mad, scary—even the wind seems a bit afraid of them.

If you go to the Academy of American Poets’ website you can, as I have done, sign up for a poem a day to be delivered to your email in box all month. Strangely, humorously, a glitch in their system led to the delivery of twenty copies of Louise Gluck’s wonderful “A Myth of Devotion” on Saturday. At first, I thought it an April Fool’s joke! They seem to have fixed the error and I’ve just gotten one since.

Enjoy the poetry. Steer clear of the vermin!

Friday, March 31, 2006

A 4-3-4-10

"So, what's the gig here?"
"I've got a 4-3-4-10."
"Sweet."
"Yeah. That 4-3-4 is tough, especially when I'm on nights..."
"...but the 10..."
"...yeah, the 10 is sweet.

As far as I can tell, the one good thing about having your wallet stolen--right from your office, no less--is getting a bit of cop-to-security guard argot.

All the security guards here at school are retired NYPD "brass." (That was the other little snippet: "Do you have to be brass to get this gig or can you just be a grunt like me?" Turns out, you have to be brass.)

When I went to leave the office yesterday and found my purse was gone, I walked down a flight to where I'd been trying, fruitlessly, to fax our daughter's health records to her new preschool. The purse wasn't there. Was it down on the third floor, then, where I'd been in a meeting? I kept walking down, and found, in the stairwell, three coupons from my favorite children’s bookstore, my proof of car insurance, and my pens.

Stolen. Damn.

I rushed to the ground level and found the security guard. He came to my office with me, sweetly reminded me how very, very, very dumb it was to leave my door open and my purse unattended even for a moment. I muttered something about preschool pre-registration and the exhausting distraction of endless copyediting and then, seeing my own inanity, just shook my head. He then walked back down the same stairwell and found my purse, minus the wallet but with the checkbook, the iPod, etc. I had my keys and cell phone with me, luckily.

We called the NYPD. And I waited. The guards changed shift. I got to hear them talk over their incident reports. I got to hear them describe me as a grand larceny case. And I learned that the guards here work 4 twelve-hour night shifts, with three days off, 4 twelve-hour day shifts, and then have a ten day break before starting all over again: a 4-3-4-10.

Tuesday, March 28, 2006

Reading on the Train

Since I’m reading the nominees for the spring selection at the LitBlog Co-op, my train reading has been a little more interesting than usual. Some days, I confess, I hold the book up high so that others can see what a pretty book, what an interesting book, I’m holding (if not reading…).

Usually, however, I’m reading AMNew York or Metro, the freebie commuter newspapers that get passed out at the entrance to the train. They annoy me, but I’ve grown to really love that friendly moment of “hi” and a quick exchange from the AMNew York guy of the moment, so I keep taking the papers.

Whatever I’m reading—or if I’m just listening to music—I always love to look around and see what others are reading. There’s lots of Fay Kellerman and Dan Brown and The Five People You Meet in Heaven to be sure, but I’m surprised at how many people are earnestly reading the Bible or a small devotional at all times of the day. A lot of people are studying, reading fat law books and textbooks. Recently, I saw a little girl, about seven, flying through some really dumb worksheets from school, spending about fifteen seconds on each page, jamming them back into her enormous backpack as she finished as if she were in a homework race.

More people than you might expect are reading really interesting books—books that were popular five or ten years ago that they’re just getting to, classics, underground (ha!) hits.

The one reader, however, who sticks with me most is an Asian woman in her fifties. I saw her three times in the last car at 9:15 in the morning. She was Upper East Side socialite skinny in tight jeans. She had really complicated hair: very long bangs that were thin and curled out from her forehead and then a series of poofs and bunches on the top of her head, geisha-like. She got on the uptown B/D at 42nd and rode to Columbus Circle with me, reading a yellowed copy of a Pelican history of the height of the Dutch Empire.

It’s been a few months, but I still think of her, with her elaborately made-up eyes and her serious, serious book.

I am curious about her: everything in her appearance seemed calculated to make you guess she was primarily interested in appearances and there she was, with more patience for serious nonfiction than most, certainly than me.

To lower the tone considerably, she does put me in mind of that great song, “Zip,” in which (the peerless) Elaine Stritch sings in the voice of stripper Gypsy Rose Lee explaining what she thinks about while she strips:
Zip
I was reading Schopenhauer last night,
Zip
And I think that Schopenhauer was right.

Monday, March 27, 2006

Books to Eat

I'm slowly trying to remember bits of my life that do not involve the Chicago Manual of Style. It's hard, I know, but I'll get there.

Here's something that helps: the Edible Books Festival. Blake Eskin has a piece on it in the Times book review this week: some wacky California librarians came up with the idea for a new April Fool's celebration that would combine foolery, books, and a celebration of Jean Anthelme Brillat-Savarin (who wrote The Physiology of Taste [1825]). The results are goofy, beautiful, gross, and amazing.

Anyway, take a look at the gallery.

Thursday, March 23, 2006

Copyediting update

It has not been pretty around here at Fernham. When I anticipated what my copyedited manuscript would look like, I feared the red pencil of a stickler or the queries of a smart but pedantic and unsympathetic reader. Instead, my copyeditor did very little at all.

Sure, she went through the whole manuscript and painstakingly marked every footnote reference, em-dash, accent mark, and italicized word, but I have found dozens of appalling errors that she missed. Worst of all, these errors are mine: I’m disappointed that she didn’t catch them, but I’m the one who wrote a couple sentences without capital letters, who began one sentence with “in particularly," who typed “as” when I meant “at.”

Every time I catch an error, I feel a tremendous wave of relief. This soon ebbs and a briefer echo wave of anxiety touches the shore. What else am I missing?

I find that, in a rather brief book, I’ve used the word diminution four times. I have a habit of piling on noun phrases linked only by commas. Sometimes I like the rush of this but, at other times, I don’t quite know why I didn’t have time to write and. I’ve had to look up hubbub, hard-nosed, and grass roots.

The Chicago Manual is my best friend. Chapters have been farmed out to my husband, my colleague, my writing group. (See what I mean about avoiding and--that’s just how that sentence came out.) I have been through the whole thing, quickly, once, and have a week and a bit to go through it again. So, that’s what’s going on here.

Tuesday, March 14, 2006

Gone Copyediting

The copyedited ms. of my book has arrived, via DHL, from Chennai, India, where I see my copyeditor has been kind (I hope not too kind) and has also corrected my spelling of Gyanendra Pandey's name.

This is my second-to-last chance with the beast. I'm terrified.

In any case, blogging will be light for a bit.

Monday, March 13, 2006

Naomi Wolf on Young Adult Fiction

It’s easy to make fun of Naomi Wolf, with her mainstream success, her good looks, and her often narcissistic mastery of the obvious feminist observation of the moment (beauty has a hold on us, we can be straight women and feminists at the same time, childbearing and rearing changes us). But I want to praise her restraint in yesterday’s book review. Given the opportunity to review a new genre of young adult literature full of brand-names, sex, and cliques in yesterday’s Times book review, Wolf actually sticks to description.

I haven’t read these books, but the description damns the genre well enough. As others have said, all those dropped names grate on my nerves:
The mockery the books direct toward their subjects is not the subversion of adult convention traditionally found in young adult novels. Instead they scorn anyone who is pathetic enough not to fit in.

And, at the end of the piece, Wolf allows herself a smart comparison between these books and the classics (among which she includes Frances Hodgson Burnett and the Brontes, both books for girls* and books for adults that girls have gravitated to):
The great reads of adolescence have classically been critiques of the corrupt or banal adult world. It's sad if the point of reading for many girls now is no longer to take the adult world apart but to squeeze into it all the more compliantly. Sex and shopping take their places on a barren stage, as though, even for teenagers, these are the only dramas left.

Frankly it would have been hard for me, given this material not to write a rather screeching polemic. It would be easy to decry these books as corrupting and easy to lament, in some fashion, the decline of the youth of today, etc., etc. Instead, Wolf describes and then, at the end, gently rebukes the values of these books. End of review.

This is not what you would guess from reading responses to her around the blogosphere (two particularly good ones are Gwenda’s and Scott’s—which he linked to in Gwenda’s comments). Some seem to hear her calling for censorship, to fear that she’s advocating parental warning labels on these books.

This readiness to cast Wolf as being on a rant when she actually avoids the most obvious, easy rant strikes me as particularly ironic in a week where the review also includes discussion of a book on “Moosewood Conservatives” (a goofy but interesting category of conservative hippies). Pankaj Mishra’s very funny skeptical assessment of David Foster Wallace and in which, elsewhere, in the Times Jason Reitman quips “Nothing says, 'I want to tell you how to live your life' more than Birkenstocks." We are all tired of this righteousness. What’s nice about Wolf’s piece is she lets us pass judgment.

There’s another thread in the comments of others that I have more sympathy with. Those commentators remember those V. C. Andrews books or tattered copies of Forever and remember, too, knowing at eleven or twelve, the difference between a book consumed in a fever pitch the way one might read Seventeen and a life-changing good book.

My friend who writes romance novels began that career as a fan of the stuff. Her father, disdaining the romance, struck a deal with her: one classic for every romance. She tore through all of Twain in order to get to the romance books. We had another brand of derision in my house. Flush with the pleasures of Damien and Siddhartha, I ran to ask my father if he had ever read this Hermann Hesse.

“No,” he said thoughtfully, “but I believe they are books that people your age like.”

I slunk away and pulled something else of the shelf: Margaret Mead? Lord of the Flies?

I plan similar stratagems of mockery and trickery when the dear one’s reading doesn’t quite match my hopes.

*I know that lots of boys and men read these books, but it’s the female readers who interest Wolf (and me) here.

Thursday, March 09, 2006

A Plague of Essays (and a brush with greatness)

For the past month, I have been reading essays, essays, essays as part of a project to nominate essays for a new edition of a freshman textbook. I have done this once before, so I was less intimidated. But, having done it before, I had also already nominated many of my favorites. In the intervening four or five years, I have used the textbook and so I have a different sense of both the book and how it works in the classroom than I once did.

It’s a thrilling, daunting, and random project to have nominate a dozen essays: where to begin?

Here’s the process I went through: I sat down and thought about essays I had read in the intervening years that had impressed me. I thought about nonfiction writers whom I admired, focusing on the past five years but thinking back as far as I could—Coleridge was even on that first list. I made two lists: one of writers whose voices I’d like to see included in the anthology and one of resources for essays (including friends who read a lot of nonfiction, like Bud and Dave). I remembered the buzz around The Bitch in the House and read that, thinking that the collection’s topic might be of interest to college freshmen. I went gathered the titles of books nominated in the nonfiction category for the National Book Award and checked out the last three or four volumes of the Best American Essays from the library.

Then I read and read. Much of what I loved, I did not choose. Great, funny New Yorker pieces seemed too light and too insiderish. Moving arguments by great thinkers were too involved in a deep social context: taken them out of the debate where they originally appeared, and the contributions themselves seemed too flat, too polemical, or just too hard to understand. Novelists I admire and love with young, fresh voices turn out not to be good essayists or not to be essayists at all. Dave suggested it would be great to include some wonderful blog entries—he even suggested a few—but they died on the page for me and I didn’t have the time to find alternatives.

What did I end up with? I was asked to nominate ten to twelve and I nominated fifteen. Of those, only five are by women: a disappointing result, since I actively worked to find women writers. Only one was written before 2000; it is from 1910 or so. I chose three editorials from the Times and one additional article from the Times. Three essays come from collections published by Farrar Strauss Giroux, two from Jonathan Cape. I did end up nominating two essays from The Bitch in the House, though I recommended that they choose between them.

What am I excited about? Remembering a beautiful essay whose last line has stuck with me since I reviewed the book in 2000; finding lovely literary essays, one on Whitman, one on Chekhov, that are the perfect combination of sophisticated and accessible; and nominating Helene Cooper’s inspiring editorial about the new president of Liberia. I’ll be curious to see which, if any, among these choices makes the editors’ cut.

As for the brush with greatness… You know that little frisson of pleasure you get when you see someone famous? It happens to me often just before I can name who it is. Anyway, I got that feeling last night on the downtown A-train around 8:30 p.m. I thought, “wow, I know that person from somewhere! Cool! Now, who is it?”

Do you know who it was?

The security guard I like who checks bags in the Main Reading Room at the NYPL.

Sigh.

Wednesday, March 08, 2006

Pleasant (for blog against sexism day)

On this, International Women’s Day and Blog Against Sexism Day, I am thinking about context: how the meaning and sense of “sexism” changes depending on where you are.

I am a feminist, a writer, and a professor: that’s a position of wonderful, often wondrous, privilege. While feminists in academe play a large role in setting the agenda for American feminism (by, for example, designing Women’s Studies courses that educate young feminists and help set their agendas, their career paths), they have consistently failed the causes of women outside the white, American middle class.

It is easy to see why this is so. The sexism we each experience within our own lives is so palpably, frustratingly unjust that it can be hard to remember to compare it against larger injustices. Thus, people spend their energy fighting the tone deaf remarks of their university president about the dearth of women in the sciences, as happened at Harvard last spring, because it’s a local indignity—right here at my workplace the assumption is that women are inferior—rather than fighting grosser injustices experienced by, say, the women who clean their offices and do not have good child care while they work.

Off campus, out of the Ivy League, these professors sound quaint rather than right.

They are right. But there is something quaint about their complaints, too.

It is hard to articulate this, but I believe we must resist sexism wherever it occurs—be it gross or subtle, local or wide-ranging. At the same time, we need to be mindful of the context of our complaint.

Growing up in Seattle, listening to Free to Be, You and Me and reading poems in an anthology called Girls Can Too, I knew that people used to undermine girls, but I felt strong. At my women’s college, I felt strong enough that I grew tired and impatient with the knee-jerk feminism of some of the women around me. I certainly had no interest in reading boring old women writers like Virginia Woolf! It took me a while to realize that the freedom my classmates experienced at the women’s college was one I had always taken for granted.

On the first day of graduate school, in a class taught by a prominent feminist, a man raised his hand as first to speak. I was shocked! Forgetting that I was no longer in a single-sex school, all I could think was “How dare an auditor raise his hands before any women speak!” I soon learned that I was at a different institution indeed. I learned to be grateful for twenty-one years of ignorance about the realities of patriarchal power, however white-gloved.

Five years later, preparing for the job market, I went in for a mock-interview with the department chair and a small committee. I need not worry; I would do fine, they assured me: “You’re so pleasant.”

I was livid. I am pleasant; I mean to make that choice much of the time. But I did not spend six years working on a Ph.D. to earn the nod of “pleasant.”

So, I read with amusement the kerfuffle in The Chronicle of Higher Education in which a man rethinks his job interview and decides that at times it is best to choose “pleasant” over “smart.” The Little Professor has a nice entry on the matter (and the comments are interesting, too), in which she notes: “In most quarters, it's considered civilto refrain from constructive criticism of a potential employer when a) said criticism has not been requested and b) you have not yet been hired.” Too true.

And yet… Given my own experience of being pleasant, being belittled and praised as pleasant, I see this as a complicated feminist issue. A too-pleasant young woman may never be taken seriously but a brash one probably will not get in the door. Beginning our careers, in academia and elsewhere, we all have to figure out how to strike the right tone and what that right tone is depends on our sex and our willingness to capitulate to those in power. It remains a complicated, pragmatic dance that each of us must negotiate daily.

Tuesday, March 07, 2006

Shades of Praise

Tomorrow is Blog Against Sexism day: I’m thinking about my contribution.

Blog Against Sexism March 8March 8, 2006



I want to mark today with a little blog entry against racism. Let’s celebrate Shades of Praise, an interracial New Orleans gospel choir. They’ve been around since 2000 and, since Katrina, they’ve become a support network for each other.

My friend Rosa is a member of the group—she sent me the heads up about this story on NPR (with pictures). When I first visited New Orleans, my friends and I stayed with Rosa and she showed us what the city could be: we went to the Rock-and-Bowl to hear (and dance to) Zydeco Force, we went to a cemetery and a traditional cafeteria. Everywhere we went, shabby or fine, Rosa shone, saw the light in the city, and made the city shine for us. She, a transplant from Connecticut, embodied all that is magical and funky and accepting and loving and cool about New Orleans and she made me want to move there, too.

She inspired me then: I wrote a short story about that trip, the only fiction I've written since college. So it’s no surprise to me that she’s part of this great group that is so inspiring. Hats off to Rosa and Shades of Praise.

Monday, March 06, 2006

Crash

It’s not so much that I have been—or am—depressed these days. Just that I feel the imminent presence of the winter blues. So, I spend time and energy staving them off. Today, that effort got a big boost in the form of three free books in the mail: two of the LBC’s nominated titles for the Spring READ THIS! Selection and a book from Knopf’s First Reader program—something I signed up for through their website a million years ago and promptly forgot.

I know nothing about any of these books. All three are pretty—one is especially so, with gorgeous endpapers and a handsome cover—and enticing. It feels like spring.

So, when I heard an Oscar pundit surmise that Crash’s massive campaign of mailing out DVDs to Academy members might have put it over the edge, I understood. There’s nothing like a little freebie to lift the late-winter blues.

Friday, March 03, 2006

Bill Gordon reading, Monday @ 7:00

From the organizers:

MONDAY, MARCH 6: Please join us for an exciting evening as buzzed-about new literary series, "The Reader's Room: Where Writers Take Center Stage," at Mo Pitkin's ( www.mopitkins.com), welcomes breakout debut novelists MARCY DERMANSKY, author of TWINS (William Morrow, October 2005), which The New York Times Book Review called "a brainy, emotionally sophisticated bildungsroman-for-two," and BILL GORDON, author of MARY AFTER ALL (Dial Press, January 2006), a remarkable first novel that prompted the The Boston Globe note that, "Like gritty Jersey City itself, Mary's life traces a cycle of decline and resurgence. Gordon brings warmth and compassion to telling the story." Local independent bookseller Bluestockings will have books for sale at the event. Mo Pitkin's is located at 34 Avenue A, between 2nd and 3rd Streets. 7:00PM, FREE.

Thursday, March 02, 2006

Sophie Scholl

I have a new heroine to root for, not just on Oscar night, but for a long time to come. Until today, I didn’t know the story of Sophie Scholl. But now, I’ve watched Michael Verhoeven’s 1982 film The White Rose and will be rooting for a newer retelling of the same story on Sunday, Sophie Scholl: The Final Days, which has been nominated for an Oscar for best foreign film. The new film is drawn from transcripts of “the People’s Court” trial in February of 1943; these transcripts became available after the wall came down in 1989. (This suggests to me that the skepticism of this post from Crooked Timber may be misplaced…)

Both films tell the true story of a small group of college students in Munich who were executed in 1943 for their resistance to Nazism. Hans Scholl, his sister Sophie, three other students and, later, the philosophy professor whose anti-Nazi lectures inspired them, wrote and distributed leaflets denouncing Nazism. The acting is strong throughout the film. What I found most moving was the uneven commitments of the members and their shifting loyalties. As easy as it might be to depict these six as martyrs from the start, Verhoeven is careful to make them seem familiar, like idealistic college students. One has young children. One is most excited about the pamphlets when the physical danger of getting caught is far. Several of them balk at promoting something more than just articulating opposition. None of them can initially imagine the use of a woman among them. As for Sophie, she doesn’t break up with her German-soldier boyfriend. Instead, she bickers with him when he visits her on leave.

Unlike many movies about great, brave people, The White Rose tells the story of the good and the brave, of young people who threatened the Nazi regime. I did not feel that I was watching a film about saints. They—Hans, Sophie, and Christoph Probst—were executed on the day of their trial. They believed, as university students and children of Weimar Germany, that executions could only happen 99 days after a trial and they hoped, given the German Army’s losses in Russia, that those 99 days might lead to the end of the war. I understand, from a colleague who has seen the new film, that many admirers of the Scholls are eager to insist that they sought their own martyrdom, that they were careless because they wanted to invite attention, to sacrifice themselves for freedom. Verhoeven’s film doesn’t take that approach: he shows, instead, that, when their death comes, they face it with both shock and tremendous bravery. For me, that—the ability of a person who is just beyond the normal reaches of bravery to rise to greatness in the face of evil and injustice—resonates much more deeply.

Wednesday, March 01, 2006

Serendipity

The two projects of the day were filing and reading essays. The former task arose because my “in box” had grown to two feet tall; the latter, because I’m helping out with the next edition of The Norton Reader, a composition textbook, and need to nominate some new essays.

It shouldn’t have surprised me, then, that, as I was flipping through a catalog, Kevin Kopelson’s new book, Neatness Counts: Essays on the Writer’s Desk caught my eye. When I tired of filing and straightening, when filing became procrastination from reading instead of a necessary step in restoring some order, I headed down to the New York Public Library, filled out a little slip and, twenty minutes later, Kopelson’s book was on the long library table before me. Done with filing, I could read about it.

I dipped in here and there, skimming, enjoying, feeling amused, and settled in to read, in earnest, the first essay, on Elizabeth Bishop.

Kopelson opens with Mary McCarthy’s wonderfully catty quip that she shouldn’t call Bishop a great writer so much as a neat one. How then, he asks, did such a precise writer tolerate such a messy desk?

The essay is smart and funny and full of odd little wayside observations. This is the one that made me laugh out loud: Bishop, who struggled against depression, once told a doctor that she tried to keep the last line of her poem “The Bight”—“awful but cheerful”—in mind. “Twenty years later,” Kopelson notes, “she taught a mynah bird to say ‘awful but cheerful.’ She also taught it ‘I, too, dislike it,’ a line of Moore’s poetry, and ‘Nobody knows,’ a line of her maternal grandmother’s” (9).

Here is the ending of “The Bight.” A bight, is, I take it, a wide bay and this one, like Bishop’s desk, like mine, is abundantly chaotic:
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.
The bight is littered with old correspondences.
Click. Click. Goes the dredge,
and brings up a dripping jawful of marl.
All the untidy activity continues,
awful but cheerful.

Tuesday, February 28, 2006

Mary After All: Jersey City in the Spotlight

I got a copy of Mary After All because I live in Jersey City, where the novel is set; it rose to the top of my pile because, well, it’s fun to read books set in your neighborhood. Some of the novel takes place just blocks from our apartment—forty years ago, but still. Still, you don’t have to be looking for hometown trivia to enjoy this book.

Mary is a smart, beautiful Italian-American girl, a teenager in the early sixties, who knows the value of her beauty—it can help her get a handsome boyfriend—and can’t quite figure out the point of her intelligence. Her mother, once beautiful but very ill, urges college, but with no college-educated people around and no clear sense of the “point” of college, Mary skips down to the Jersey Shore one summer, meets a cute boy, 23, and gets married right out of high school. Soon, she’s in her early twenties with two little children and an angry, absentee husband who, when he is home, is emotionally abusive. She raises her sons while caring for her ailing mom who, like Mary, has a distant husband. He’s carrying on with a check-out girl from ShopRite. Still, Mary’s lot need not have been so hard had she not been so rash in marrying at seventeen. As her Aunt Dot says, after a long, long review of all the ways in which life for women can be burdensome, what with all the expectations of caretaking, “This—this you got into yourself.”

This comes at the end of a really lovely, long, familiar conversation. Half-listening, Mary thinks about people like Aunt Dot, people who talk all the time, who tell the same story over and over without ever tiring of it until “one day, out of the blue, the story changes” and you realize that “there’s a point, maybe, too.”

This lovely novel is all about voice and Mary’s voice is wonderful. It’s terrific and interesting to see the sixties through her eyes: to see her passing interest in race relations, in the deterioration of Jersey City, in the fringes of organized crime that involve her male relatives, in real estate and fashion. Occasionally I’d stop to think about how cool and interesting it was that a young man could so effectively channel this voice from his mother’s generation: the time and sex switch is hard to do. But mostly it’s so well done that I just listened to Mary, thinking back on her life, reflecting on how she got into “this” and how she pulled herself out of it.

If you’d like to hear more about Mary or Bill Gordon, pop over to Wendi’s place. The Happy Booker got him to program an iPod and his choices give you a little more flavor of the novel.

Monday, February 27, 2006

The Canonization

Call's what you will, we are made such by love;
Call her one, me another fly,
We're tapers too, and at our own cost die,
And we in us find th' eagle and the dove.
The phoenix riddle hath more wit
By us; we two being one, are it ;
So, to one neutral thing both sexes fit.
We die and rise the same, and prove
Mysterious by this love.

This, the third stanza of John Donne’s “The Canonization” (first published posthumously in 1633), celebrates romantic love as something both sacred and carnal and in defiance of the world’s priorities. The opening here, “Call’s what you will,” more gently echoes the poem’s fist-shaking defiance: “For God's sake hold your tongue, and let me love.” Here, the speaker is ready to just retreat to bed and, in spite of the world’s (mistaken) judgments and priorities, celebrate the miracle of love.

One of the great pleasures of metaphysical poetry is unlocking it, figuring out how the metaphors fit. It’s a pleasure akin to the pleasure of making up categories. Rooting around the web today, trying to learn something about this poem, I came across a delightful old (1965) PMLA article that takes the poem’s central irony very, very seriously—to a fascinating result. So, the first thing to say about this poem regards the title: this is a love poem that borrows its title from a serious, official theological procedure. Canonization, the process of declaring a person a saint, follows strict bureaucratic rules. John Clair’s 1965 essay argues quite simply and persuasively that, in Donne’s poem ironically borrows the five-step canonization process for its structure. Thus, each stanza corresponds to a stage in the process of declaring someone a saint. The process, as Clair outlines it was as follows: 1) Investigation into the subject’s reputation, 2) Inquiry into the subject’s practice of the heroic virtues (i.e. faith, hope and charity as well as prudence, justice, temperance and fortitude), 3) Investigation of alleged miracles, 4) Scrutiny of the subject’s writings, and 5) Examination of the burial place an identification of the remains or relics.

Thus, this lovely third stanza makes the fusion of two into one in love the miracle itself.

It’s a lovely, nerdy little observation, dutifully attentive to doctrinal theology and thus very out of fashion with contemporary criticism. I adore it. It deepens the poem for me. I have an even greater respect for the ingenuity of Donne’s conceit, which is intellectually satisfying as all such categorizations are. (Each stage in the process gets exactly a stanza; a five-step process maps perfectly onto a five-stanza poem.) But this intellectual pleasure, like a solved puzzle, is only part of it, for linking the stanza to the investigation of miracles enlivens and enriches the metaphors within it: the paradoxical combination of eagle and dove, the phoenix rising from the ashes, the more than miraculous stability of a love that persists.

Friday, February 24, 2006

Categorie Bukowski

T'es dans la catégorie
De celles qui lisent Bukowski
En trouvant super naze
De mettre les gens dans des cases—Vincent Delerm

There is such pleasure in putting people in categories—you’re the kind of person who reads Bukowski, the kind of person who thinks it's silly to categorize, the kind of person who listens to sentimental French music, the kind of person who has a pot of geraniums out front.

Part of what made the discussion of Rupert Thomson’s Divided Kingdom so lively over at the Lit-Blog Co-op was the fun that the bloggers with Thomson’s categories: this dystopia, my copy of which is currently zooming its way from some amazon warehouse to Jersey City, imagines a society 'segregated by personality type. There's the "Red Quarter," where the optimistic and sanguine reside; a "Blue Quarter" for empathetic phlegmatic types; a "Yellow Quarter" populated by impulsive and aggressive cholerics; and a "Green Quarter" where the melancholic and introspective live.'

While Thomson’s categories are familiar from Shakespeare (and no less delightful for that), I took great pleasure last night in coming across—thanks to my writing group, one of whom is writing on Coleridge—Coleridge’s categories of readers:
  1. “Spunges that suck up every thing and, when pressed give it out in the same state, only perhaps somewhat dirtier”
  2. “Sand Glasses,” whose “reading is only a profitless measurement & dozeing [sic] away of time”
  3. “Straining Bags, who get rid of whatever is good & pure, and retain the Dregs”
  4. and finally “the Great-Moguls Diamond Sieves,” whom he celebrates as “the only good, & I fear the least numerous, who assuredly retain the good, while the superfluous or impure passes away & leaves no trace” (Collected STC 5, 1: 65-66)

I get such a feeling of triumph reading a funny list like this. There, I think, it’s all sorted. The pleasure decreases, however, when it comes time to actually sort people into the categories. Things immediately get fuzzy again. Am I a melancholic spunge or a sanguine sand glass? A straining bag when it comes to some topics, sure, but can’t I lay claim to being, at least occasionally, a great-mogul diamond sieve? Then, this last--"the Great-Moguls Diamond Sieves"--is surely the most cumbersome term of praise for a great reader ever coined. Doesn't it sound more fun to be a sand glass anyway?

Wednesday, February 22, 2006

Three Witches and a Carnival

So, I returned to The Bitch in the House and found three little things that amused me a good bit. First, from Elissa Schappell’s disturbing and interesting essay about what it feels like to really lose your temper at your children, this bit of dialogue:
’You’re writing about anger?’ my mother says with surprise.
‘Well—yes… About, you know, my anger and how can you teach your kids to express anger constructively, when you yourself never learned how to.’
‘What do you mean?’ she says. ‘You weren’t an angry child.’
This lovely maternal moment seems so typical to me. It put me in mind of the kind of exchange Deborah Tannen seems to be studying in her new book on mother-daughter conversations. Tannen’s interviewer (behind the Times firewall, sorry) zeroes in on apparent criticism of daughter’s appearances and Tannen rightly, academically, jumps in to correct the presumption, saying,”The mother feels she's caring. The daughter feels criticized. They are both right.” As someone who has known, thanks to my peerless mother, that there is a spot, exactly in the back of my head that remains perpetually uncombed, unkempt, I love these little moments of mild friction between mothers and adult daughters.

Second, Laurie Abraham’s lovely comment about her daughter: “There is no one in my life whom I’ve ever been so grateful to escape and so grateful to see.”

And finally, I loved Kristin van Ogtrop’s telling juxaposition between work and home:
“Here are a few things people have said about me at the office:
  • You’re unflappable
  • Are you ever in a bad mood?
  • You command respect as soon as you walk into a room
….
Here are things people—OK, the members of my family—have said about me at home:
  • Mommy is always grumpy.
  • ….
  • You’re too mean to live in this house and I want you to go back to work for the rest of your life!

This last one is my favorite. It’s also the saddest, because it captures such a painful truth: too often I’m a better mother at work than I am at home. Of course, at work,…no one charges into my office, hands outstretched, to smear peanut butter all over my skirt.”

As a magazine editor, she has her share of high-strung young people--writers, editors--weeping in her office, but the peanut butter smearing is, happily, something most of us avoid in those blessed hours at work. Thank goodness. Van Ogtop’s essay, “Attila the Honey I’m Home,” is good and funny and smart. It’s also one of the few to put her own situation into context, mentioning Arlie Hochschild’s 1997 Time Bind. That context—the work of a prominent sociologist (up there with Juliet Schor as one of the top in this field) on the work-family bind for women—is still pretty thin, but it’s a relief to see one of the younger contributors thinking of herself as part of a class of women struggling with a structural problem.

For a richer array of feminist thinking than this post—or this book—provides, hop over to Mind the Gap for the new Carnival of Feminists!

HOW TO WRITE ABOUT AFRICA IN FIVE EASY STEPS

Just in over the wires. If you're in NYC and can make it, check this out:

The Africana Studies Program , The Department of Social and cultural Analysis and Africa House Invite You to a Celebration of and Readings from the Special February Issue of Granta Magazine on New African Writing:

HOW TO WRITE ABOUT AFRICA IN FIVE EASY STEPS
  1. ALWAYS TREAT AFRICA AS IF IT WERE ONE COUNTRY. Don’t get bogged down with the precise descriptions. Africa is big: fifty-four countries, nine hundred million people who are too busy starving and dying and warring and emigrating to read your book.
  2. USE BROAD BRUSHSTROKES THROUGHOUT. But describe in detail naked breasts or mutilated genitals, or enhanced genitals. Or any kind of genitals. And dead bodies. Or, better, naked dead bodies. And especially rotting naked dead bodies.
  3. ADOPT A SAD, I-EXPECTED-SO-MUCH TONE. Establish early on that your liberalism is impeccable, and how much you love Africa. Africa is to be pitied, worshipped or dominated. Whichever angle you take, be sure to leave the strong impression that without your intervention and your important book, Africa is doomed.
  4. TREAT ANIMALS AS WELL ROUNDED, complex characters. They speak (or grunt, while tossing their manes proudly) and have names, ambitions and desires. They also have family values: see how lions teach their children? Elephants are caring, and are good feminists or dignified patriarchs. Elephants may attack people’s property of destroy their crops, and even kill them. Always take the side of the elephant.
  5. ALWAYS INCLUDE A STARVING AFRICAN, who wanders the refugee camp nearly naked and waits for the benevolence of the West. She must never say anything about herself in the dialogue except to speak of her (unspeakable) suffering. Moans are good too.

Featuring Adekeye Adebajo, Philip Alcabes, Daniel Bergner, John Ryle & Binyavanga Wainaina

Thursday, February 23
19 University Place
7:00-9:00, followed by a Reception

Monday, February 20, 2006

The Angel in the House

I use my amazon wishlist as a kind of holding pen for books I don’t want to forget. Some I’ll never buy; some I long for; others I just heard about on NPR and want to remember the name of. When the 2002 collection The Bitch in the House made its appearance at the top of the list, however, my sister recommended that I remove it or at least, move it down a little further to the bottom.

I was indignant. I explained that this was a widely-reviewed collection of new feminist essays about balancing work and family. Furthermore, I went on, its title, while aggressive, was an allusion to Virginia Woolf, who wrote about the necessity of women’s killing “The Angel in the House,” her term—from a Coventry Patmore poem of that name—for the myth of the all-giving, virtuous, Victorian uber-mom.

I took the book off my wish list nonetheless.

I read the book over the weekend. Gobbled all 26 essays, skimming here and there but mostly reading with some care. The cumulative effect was, unsurprisingly, a bit depressing, a bit too much like reading a younger Maureen Dowd. Even with twenty-six contributors, there is a numbing sameness to the selections. Over and over again, I felt like I was reading about how hard it was to share a huge apartment in Brooklyn with a really interesting man who just didn’t do his half of the childcare, even though both of us had novels to write and interesting jobs at high-circulation glossy magazines. Snore.

Some contributions are good. Some gave me a jolt of painful recognition. I may write a bit about those later in the week but for now, I’m in kind of a coma of homogeneity and complaint.

Thursday, February 16, 2006

In Praise of Dinner and a Show

Just a brief post to state the obvious: it is good, on occasion, to indulge in an old-fashioned date. We did last night. Much as the dear one is beloved, there is a certain spring in my step that only comes when I leave the house with neither her nor a bag full of books. She and the babysitter played with stickers and I ran into the city to meet my husband for a yummy dinner at The Spotted Pig followed by Pink Martini's amazingly festive sold out concert at Town Hall. This great Oregon band--part chamber music, part Carmen Miranda--was grinning ear-to-ear to have such an enthusiastic welcome to New York. We were not alone, at all, in enjoying them. (I can also highly recommend an amazing dish at the Spotted Pig: a spicy lentil salad with creme fraiche and parsnip crisps. This description, pretty much verbatim from the menu, omits the lovely wilted arugula and the spicy ginger tomato sauce. It also fails to capture the beauty of little circular ruffles of parsnip, fried to golden perfection, sprinkled all atop the plate. Heaven.)

Back to work now. But ah! Pleasure cannot be overpraised, can it?

Tuesday, February 14, 2006

Jesus Land

I gobbled Julia Scheeres’ riveting memoir, Jesus Land. But now, a week or so after finishing it, I have to admit that what compelled me was the horrible story of multiple levels of psychological abuse and the energy and pluck in her voice. Since I’ve been blogging, I’ve gotten into the habit of dog-earing pages containing really striking language. I didn’t note anything about this book.

Nonetheless, as I wrote last week, I think it’s a good book and an interesting one. The story is strange and compelling: Julia is the fourth child of a strict Christian family. Her parents decided to adopt a child and, unable to quickly get a disabled child, took on—as their Christian duty—a black boy, David. He joins the family at 3 when Julia, too, is 3. Unfortunately for everyone, the family’s racism, compounded by their surroundings (rural Indiana, outside Lafayette--not exactly a bastion of diversity or tolerance), only intensified the already oppressive and abusive atmosphere at home. (The weeping and depressed mother, single-mindedly focused on saving souls elsewhere reminded me of that wonderful, insane mother in Jeannette Winterson’s terrific first book, Oranges Are not the Only Fruit.) Thinking David lonely, Julia’s parents adopt another black boy, older than David, Jerome. He arrives as a young child (not a baby) with an array of behavioral problems and grows to sexually abuse Julia. Reading about the shifting alliances in this evil, oppressive combination is gripping indeed. With the older children grown, these three form a small group against the parents. But when the beatings come round, the boys get it worse than Julia and racial tension within the family grow. At other times, Julia and David ally themselves against parents and their delinquent, difficult older brother. At other times, Julia distances herself from a socially inconvenient brother.

The second half of the book is even more incredible in the abuse it describes and here is where Scheeres’ abilities as a journalist serve her best. When Jerome’s delinquency and the parents’ pathology grow, the parents send David off to a Christian reform school in the Dominican Republic (all the harder to escape, my dear….all the harder to police, my dear...). Julia gets herself into trouble and runs away to join him only to find that it’s a horrible nightmare of a place. This part is incredible and if you go to her website you can see the activism that must drive her: lots of links dedicated to exposing the gap between what the Christian groups describe as a kind of “Outward Bound” reform experience and the abuse and neglect. Somehow, even in the face of beatings and blisters, overwork and inhumanity the notion of oatmeal made with kool-aid sticks in my head as particularly cruel.

Monday, February 13, 2006

Curious

Monday’s usually my day to stay home and write. This week, the prospect was particularly welcome. Alas, it was not to be. Two feet of snow make the daycare ladies reluctant to shovel themselves out of their driveways; daycare was closed and the dear one and I had to find some diversions.

So, we saddled up the little stroller and headed off to the mall for the noon showing of “Curious George.” With tons of snow on the ground, rapidly melting, this was a calculated risk. I allowed an hour. The walk was long and slushy, but the dear one eagerly accepted our game of having to hop out and walk through the slush and then hop back in when the sidewalks were clear. We got to the theater fifteen minutes early.

I must say, however, that movie-going ranks up there with airline travel these days. How did something once so glamorous become so jarringly uncivilized? I paid my $12 for an adult and a three-year-old and got eight singles in change. They don’t stock juice or even lemonade let alone milk, so we (? I) settled on water. I paid my $3.50 for a small bottle of got five dimes in change. We settled down in the theater with all the other parents and toddlers and, by 12:30, the film still hadn’t started. The projectionist was stuck in traffic. There was no announcement, no apology, nothing: only word passed, parent to parent, in patient exasperation. Finally, the movie began, a full hour late. (It’s an 86-minute film.) I did run into another family in the (dreaded) Disney store afterwards (likely also buying an overpriced treat to placate a patient dear one) and learned that the manager, if I could find her, was passing out free admission coupons. I rammed the stroller back up the escalator and got two.

The movie, by the way, is very, very sweet. The dear one loved it and laughed aloud often and wept inconsolably when it ended. (But that was partly from the combination of pleasure, exhaustion, and the huge bag of peanut M & Ms that stood in for the lunch we no longer had time to get.) The man in the yellow hat works at the Bloomsberry Museum—a nice touch—which looks to be about where the Museum of Natural History is in New York and, in another nice touch, takes a ship called the H. A. Rey to Africa.

Curiouser, and more to the point, also bookish, I’ve been invited to join the Lit Blog Co-op. Overcome and flattered, I accepted immediately. We’ll see what the next quarter brings. For now, I am awaiting my first assignments and ordering the current READ THIS selection, Garner by Kirstin Allio. As a longtime and, I thought, distant admirer of the enterprise, I feel a little like, well, I don’t know. I’m excited!

Thursday, February 09, 2006

Memoirs

The extent to which memoirs are true does matter to me. But, when I pick up a memoir, be it Moehringer’s wonderful The Tender Bar or Julia Scheeres’ riveting Jesus Land (about which I expect to have more to say next week), I find that one of the pleasures I seek is wholly narcissistic: I love reading memoirs by people my age, by people who went to one of my schools, came from my town.

The pleasure decreases, however, when I actually know the author. To me, hearing Dave’s beautiful podcast of his memoir and to know exactly where his dad took him and his sister to feed the ducks and talk about the divorce just hurts. I fed the ducks there, too. And, since we’re about the same age, I know that I fed the ducks there exactly then. That’s not a pleasurable identification but a distressingly uncanny one. I feel like I should rush back with a big bag of stale bread from the QFC and stand beside him, chucking hunks of it at the mallards.

In another case, I found myself changing my opinion of a newish friend upon learning how unethically she had once behaved. Still once more, I was confirmed and disappointed to see that I wasn’t even a separate character—just one of many—in the memoir of someone I had had a Titanic-sized crush on.

I asked for Scheeres’ book for Christmas and my motive, as ever, was narcissistic and impure: she had been miserable—truly, deeply, abused and miserable—in two places where I, too, have been unhappy. We’re the same age—a plus, as I said before—but we were not in these places at the same time, nor does my mild depression compare with the actual abuse she suffered. Still, part of what drew me in and pulled me through the book was the perverse pleasure in reading along and being able to say, wholly speciously—but privately—I knew that was a bad place…

Wednesday, February 08, 2006

Spies by Michael Frayn

The book came out in 2002. I just read it last week. It’s wonderful!

Spies is a novel of an old man remembering back to his boyhood in London during WWII. In particular, he pieces together the consequences of his best friend’s declaration: “My mother is a German spy.” Unlike other boyhood games (Mr. So-and-so is a murderer; Mrs. Whatsit eats baby kittens…), this particular one takes on real moment: the boys get inflated with the potential importance of their “discovery” to the war effort and begin spying on her in earnest. Of course, any such spying is bound to uncover something. At first their discoveries are sweetly comic: an X in her diary every 28 days or so means, to them, a rendez-vous with a German agent but the suspense builds as they find odd things and terrify themselves with speculations.

As Adam Mars-Jones wrote at the time: “The key to the book's success is Frayn's decision to respect young Stephen's point of view without staking everything on recreating it. Stephen's older self frets over the past which is the boy's present, without claiming authority over it.” (You can find another review at Collected Miscellany, too.)

There’s much I loved about this moving, suspenseful, and poignant novel. But one passage in particular stands out for me: a great mini-essay on what it means to understand something, anything. Thinking back, remembering, trying to piece together what happened and how much of it he knew (and what kind of knowing he had—dim, partial, hidden from himself), he stares at a pot of geraniums that stands now where he had once played with his friend:
What do I understand? Now? About anything? Even the simplest things in front of my eyes? What do I understand about the geraniums in that tub?
Only that they’re geraniums in a tub. About the biological, chemical, and molecular processes that lie behind that flaunting scarlet, or even the commercial and economic arrangements that create the market in bedding plants, or the sociological psychological, and aesthetic explanations for the planting out of geraniums in general and these geraniums in particular, I understand more or less nothing.
I don’t need to. I simply glance in that direction and at once I’ve got the general story: geraniums in a tub.(152-3)

He takes us to the edge, philosophically speaking, and then pulls us right back to solid ground. Yes, the idea of what it means to understand is complex. We understand very little. If we really stop and consider how little we know, our ignorance is dizzying, dazzling. We can imagine the treatises, from every discipline, that would help explain how it came to be that middle-class English people tend to have potted geraniums. On the other hand, sometimes, “the general story: geraniums in a tub” is plenty.

I think that’s a key to being a great creator of fiction rather than a scholar. Frayn is smart—smarter than most, for sure—but he knows how to choose a single detail that, in a stroke, conveys a raft of information about class, place, attitude, degree of conventionality, aesthetics. He doesn’t get distracted by all that; he just knows that the people who would be living on that street now are the kind of people who would have geraniums.

Tuesday, February 07, 2006

Seventeen years ago: February 1989

In the spring of 1989, I was a second-semester graduate student. Once a week, I entered a locked courtyard and mounted the stairs to a tiny seminar room for my class in Anglo-Indian Narrative. Our professor—one of the greatest I’ve ever had—announced that she no longer taught the grab-bag “postcolonial” class. The specific conditions of colonization differed so vastly across and within the globe that a single course could not responsibly treat the Caribbean, Canada, Australia, South Asia, and Africa. Of course, she was right.

I remember a lot about that class. Of those early weeks of the term I remember two things. First, we were reading lots and lots and lots of Edmund Burke. I was reading Burke for another class at the time and, to be honest, that meant that twice a week I was humbled by how little of Burke I understood and (more shameful) how little I cared. I really tried, but Burke did not light my fire. Second, after Burke, after Kipling, after memoirs of “the Mutiny” a great, great treat awaited: a visit from Salman Rushdie. I tried to hang in there, eager to be one of the bright young grad students with a smart question when the great novelist visited our class.

Then, on Valentine’s Day, 1989, the fatwa against Rushdie was declared. (The Satanic Verses had been published in September of 1988; it was banned in India in October, weeks before Michiko Kakutani got around to reviewing it for the Times.) He went into hiding. He would most certainly not be coming to our class.

The protests—now deadly—that have erupted over a cartoon depicting Mohammed have put me in mind, again, of that troubled time. I find myself thinking, with weird nostalgia (is that the right word?), “Back in my day, the protests were over highbrow fictional blasphemy, not mere editorial cartoons…”

Ultimately, however, these culture clashes over representations of the sacred are really interesting. In the case of Rushdie, I think, he got tangled (to put it mildly) in the difference between his own perspective as a cosmopolitan Muslim and that of fundamentalist Muslims. The current protests, by contrast, revolve around depictions of Mohammed by a non-Muslim cartoonist: a much more common kind of offense, I think. But then, when the riots begin, these distinctions, these interesting conversations, have already ended. That's the sorry fact about violence.

You can find several smart posts on these sorry events over at Moorish Girl, of course. As Laila Lalami says: “’Leave the cartoonist alone! He has a right to his stupidity!’ And also, for the love of all that is holy, don't we have better things to do than to worry about a cartoon?”

Elsewhere, in more sorry literary events, J. T. Leroy’s identity has finally been unmasked by the writer’s partner (a man in search of a book deal) while, at the Times, one reader is shocked, shocked, to find some actual facts in a novel! What is this distinction between fact and fiction coming to? (Via Moorishgirl):
AFTER READING JOHN BANVILLE’S Man Booker prize-winning The Sea, a slim volume trumpeted as fiction, I was startled to discover, upon perusing my hefty atlas, that this supposedly fantastical place named Ireland was an actual island. While reading, I thought it sounded familiar, yet I let it slide, not wanting niggling particulars to ruin the experience.

Still elsewhere, and far more celebratory, the 8th Carnival of Feminists is up at Gender Geek. There’s a lot to peruse, admire, ponder, and love there. The next Carnival is being hosted by Mind the Gap, on February 22nd. Nominations should be sent to mindthegapcardiff AT yahoo DOT co DOT uk, to arrive no later than 19th February. Among other things, this Carnival ends with links celebrating the lives and work of Betty Friedan, Wendy Wasserstein, and Coretta Scott King as well as the work of Sandra Day O’Connor—lucky in her retirement, though we are hopelessly unlucky in her loss.

Monday, February 06, 2006

Two Othellos

I’m teaching Othello this week and next so I rented two movie versions of it to watch this weekend. Of the four major Shakespearean tragedies, I know Othello the least well and it’s fun and fascinating to return to it after many years. The films, however, have been a big surprise.

I was curious and excited about the Orson Welles version from 1952. Could I get over the weirdness of Welles in blackface to enjoy Welles in a role that I knew he’d be good in? Well, it’s a very good movie though I had to watch it in chunks. It’s starkly black and white, full of serious, European symbolist imagery. There are some visually stunning shots: I loved a particularly vertiginous moment where Othello backs Iago to the edge of a Cyprus cliff and the camera, over their heads, captures Iago’s fear and the crashing surf as Othello threatens to kill Iago if his insinuations about Desdemona prove false. It’s also nice to set the attempted murder of Cassio in a Turkish bath, a sword piercing through slats in a wooden walkway over the water. (Is it a sewer, as the DVD documentary suggests, or just a kind of canal serving the bath?)

Overall, however, it is a dark film. I don’t mean that metaphorically; I mean that it is often hard to see. Furthermore, I didn’t think much of Iago and sometimes found it hard to tell him apart from Roderigo. This is actually a big problem: Iago is the bad guy and probably the most important role in the play to think through carefully; Roderigo is a fool and a tool—an instrument through whom Iago can plan some of his villainy. Sometimes, when the blond actor playing Cassio (the second of Iago’s targets) was in darkness, I couldn’t even tell Cassio from Roderigo or Iago. Pair that with imperfect sound, a camera rarely on a speaker’s lips, and lots of expressivist angle shots, and you get a movie that is just kind of confusing.

What a nice surprise then, to turn to the Kenneth Branagh 1995 “Othello” (with Laurence Fishburne in the title role and Branagh hamming it up as Iago). Branagh is a ham but I like him and, frankly, it’s useful to have him looking straight at the camera to say, “I hate the Moor.” Got it.

I haven’t finished watching it, but, boy, I like it. It’s visually so clear. It’s not sophisticated as film but, to my shame, I think I have discovered that I don’t care as much about visual sophistication as I do about other things. Plus, the movie is really interested in Desdemona and turns her into something other than a new Ophelia. She is not at all like Ophelia in Shakespeare’s play: she is a brave, strong, confident young woman from go whereas the Ophelia we see is already confused and a little broken. Desdemona, by contrast, wishes she could have been such a man as Othello. And when her father disapproves of her marriage, she joins her husband at war. But really, I love just being able to watch the movie without straining after it, to enter more deeply into the situations because I can see that that guy on the right is Cassio and the one on the left is Iago.

Tuesday, January 31, 2006

The Tender Bar by J. R. Moehringer

I heard J. R. Moehringer interviewed on WNYC in September, talking about his childhood, growing up without a father and passing time in the bar down the road (in Manhasset, Long Island) where his uncle worked. Upon graduating from Yale, he got a job in the giftware section of Lord & Taylor and began making a killing on commissions: a depressing kind of success. Had he and his single mother fought and worked and dreamed for all those years of an Ivy League education in order for him to sell crystal and fine linens to the ladies of Long Island?

Although it is not a topic of inherent interest to me, something about his voice was tremendously appealing. So much so, that I noted the title and topic. A few weeks later, the book arrived in the mail from my father. He had read it, loved it, and, as he occasionally does, hopped onto amazon & ordered it for me. The next week, my mother-in-law asked me if I’d read The Tender Bar yet.

Last month, I did. It really is a wonderful book. There are some hilarious passages of him working on his college entrance essay:
’Try as I might,’ I wrote, addressing the Admissions Committee directly, ‘I feel unable to truly convey the emphatic pangs of hungry ignorance that attend this my seventeenth year, for I fear that my audience is well fed!’
As my fingers flew across the keys of the secondhand typewriter my mother had bought me, I could hear the Dean of Admissions summoning everyone into his office. ‘I think we’ve got something here,’ he’d say, before reading a few choice passages aloud.
My mother, however, after reading my essay, chose three small words to express her opinion. ‘You sound—insane.’
He is ruthless about his own style throughout. In one scene, he brings his early attempts at fiction to the bar: “Why is the bar like a fart in the badlands?” Cager asks, forcing J.R. to admit the typo: “Should say ‘fort.’ Fort in the badlands.” “I think I like it this way. Fart in the badlands. Think about it.” He is also honest about the hard work he put in learning to write—the reading lists, the lists of words to use and avoid, the reading, the striving to seem smart and then to be so. I know I liked this book because I recognize his faults--that embarrassing combination of pretense and typos--as my own.

Another part of what makes the book such a pleasure is the pleasure Moehringer takes in finding smart people wherever he goes. He loves anyone who loves words, who is a good storyteller, from publicans and alcoholics to deejays and bookstore clerks to professors and journalists. Getting a wordy-gurdy clue right as a young boy is the first moment he turns from being just a squirt into J.R., the kid who hangs out at the bar. Everywhere he looks, he seems to turn up readers: in the bar of the title, the men argue about Melville; in the strip mall bookstore where he works, the reclusive autodidacts who run the chain tease him for referring to Scarlett’s Letter and then take him in hand, schooling him in the difference between Hawthorne and Scarlett O’Hara.

My usual stops in the litblogosphere don’t seem to have had much to say about this book yet, but there’s still plenty online. Frances Dinkenspiel praises his writing (quoting a nice representative bit—an unpretentious, funny, and apt description) and his ability to make friends in odd places. Tina Ristau singles out Moehringer’s relationship with his mother, whom he adores and longs to protect, as a strength. Gale Zasada offers a nice summary of the book, for which she has high praise.

Monday, January 30, 2006

Pretty thundering dull

Earlier this fall, I spent a wee bit of time reading up on London tabloids in the 20th century and came across this tidbit, the perfect little smidgeon for a day when I feel about as dull as poor “Lonely”

Lonely, of March, Cambs, writes:
  • I’m 23; I save £3 a week, don’t smoke or drink.
    Yet I can’t get a girl for love nor money.
    I’m not a fairy prince, what am I?
Answer: Pretty thundering dull, we should think.

(from the Daily Mirror, 1990s; quoted in Matthew Engel’s Tickle the Public [1996] 160)

Thursday, January 26, 2006

Virginity, Annunciations


Virginity is not a topic I care much about—I didn’t like being a virgin, I didn’t feel much better about the word or the category once I wasn’t any more. I find the topic and the word embarrassing.

But I’ve been thinking about virginity more than usual lately, thanks to Nicholas Kristof’s devastating reports in the Times about sex slavery in India (TimesSelect, only, alas). In one of his video diaries, a woman activist in a Calcutta slum (She educates the children of prostitutes, all of whom [the children] are now the first in their families to become literate.) alludes to the high price men pay for the privilege of sleeping with a virgin. Prostitution, she says, is the only profession where your pay is the highest when you begin.

With this haunting me, I recalled Daphne Merkin’s recent essay on women who get plastic surgery on their genitals (to make them prettier, more like those of porn stars, or more virginal—an idea I find almost too horrifying to write, let alone think, about—and thought with a more critical eye about this article about the new boom in China: rich men advertising for virgin brides. The light tone of “everything’s for sale” did not match the sense that this was a very, very old-fashioned marriage bargain: money for a “pure” bride. At least many of the women interviewed for the article feel the same.

It felt good, when I was younger and it mattered more, not to care about virginity too much. This fetishization of virginity stuns me. But should it?

I went to the Met today to catch the Fra Angelico show before it closes. Since most of his work is in frescoes in Florence, I hadn’t seen it since I was last there—19 years ago. At twenty, I decided that he was one of my favorite artists and I made the pilgrimage over to the museum to see if, two decades later, my earlier judgment held. I was particularly curious to see if I could understand why it was that I was so especially enamored of his annunciations.

The paintings are stunning. I was moved and transported. The colors are glorious—many, many golds and blues. The facial expressions are solemn, solitary, unguarded, and individual. You really get the sense, looking at each face, each Christ, each Mary, each saint or cleric, of looking at person. More than that, each person looks like a holy person so the experience of contemplating his art is meditative and spiritual. All the more pleasure for me, then, of course, comes in seeing all those paintings of people reading. And that, I think, is the appeal of the annunciation. Mary is sitting and reading: the only reading woman we ever see, the only time we ever see Mary reading. That figure of a young woman reading in the midst of many, many images of older male readers must be central to the appeal of the annunciation. Of course, the bitter joke and great blessing of what comes next--the angel’s terrifying and wonderful announcement of her imminent motherhood—will curb, if not end, Mary’s reading for a while.

This, then, is the continuing story of women, education, and sex. It’s a story I have a lot more to say about, but I wanted at least, tonight, to sketch the links I see at the moment, to bookmark the story about Fra Angelico and current educators in the slums of Calcutta so that, if nothing else, I can remember something of the skeleton of my thoughts.

Wednesday, January 25, 2006

Bill Gordon reading, TONIGHT @ 7:00

I wish I could go: a reading of a novel about Jersey City!

WEDNESDAY, JANUARY 25, 7PM: Join us for "First Fiction" night as two fresh voices share tales from their debut works. BILL GORDON is the author of the remarkable novel MARY AFTER ALL (Dial Press, December 2005), which tells the story of Mary, a Jersey City native who comes of age during the turbulent 1970s and discovers her own route to independence along the way. RONNA WINEBERG's award-winning collection of stories, SECOND LANGUAGE (New Rivers Press' Many Voices Project, 2005) has been described as "like entering a series of complex, absorbing worlds…" and "beautifully written and deeply satisfying" by critically-acclaimed novelist Margot Livesey. Bluestockings, the Lower East Side's best independent bookseller and cafe, is located at 172 Allen Street (between Stanton and Rivington). FREE.

I met Bill this fall & just got a copy of his book, Mary After All (thank you, Lauren!).

I'll be home in JC, giving the dear one her bath...

Tuesday, January 24, 2006

Tuesday, links elsewhere

  • Chris Raschka has won the Caldecott prize for best children’s picture book. (We’re not up to the Newbery stage yet here, the dear one being only three.) I remember prizing those books with their shiny gold medallions as a girl and am delighted that Raschka now joins that club. His Doggy Dog is a big favorite: an absurdist poem that anyone can love: “Doggy dog. You are a dog.” And his work on two illustrated poetry collections for children, A Poke in the I, a book of concrete or shaped poems (including George Herbert and John Hollander among others) and A Kick in the Head, a compendium of literary forms from couplet and haiku through sestina and beyond, are visual feasts.
  • Elsewhere, in children’s lit, Gwenda reports on and links to a great story about Dolly Parton’s genius book giveaway project.
  • Mrs. Bookworld led me to one of the great headlines ever: “Talking parrot gives away girlfriend's secret lover.” Definitely for the “There’ll always be an England” file.
  • For one last dose of James Frey, don’t miss the Rake’s ballad.
  • There’s a new carnival of feminists up at Feministe including lots of interesting links. You can also go to the Feminist Carnival blog for information about where and when new carnivals will appear. I was thrilled to be included in one a while back and continue to find lots and lots of great new reading in the blogosphere through this thriving carnival.
  • It’s old news now, but in case you missed Miss Snark’s Happy New Year bloopers, do check them out. One of the better such compendia I’ve seen.
  • Finally, last but not least: Happy, happy anniversary to Ana Maria at Out of the Woods Now! If you long for more poetry in your life, be sure to stop over there from time to time. She’s a near-name sister, fellow Libran, Quixotista, and, it turns out, about the same age as me, blogospherically speaking.

Happy Tuesday! Happy Linking!

Monday, January 23, 2006

Icefield Sonnets Hawley & Jalbert

I went to the premiere of Icefield Sonnets yesterday, a work composed by Pierre Jalbert based on three gorgeous sonnets by Anthony Hawley, whom I know and like a lot. The sonnets are called “Cold is a cell,” “Glass is a place,” and “North is a notion.” They are fourteen narrow lines each and each one has a stark, gorgeous beauty to it. Best of all, the lovely wintry music of Jalbert (composed for soprano, baritone, violin, cello, piano, and percussion—mostly marimba as far as I could tell) brought out the resonances and ambiguities of the poems—playing with line breaks and enjambments in ways that enriched my understanding. Clearly these two young men—Hawley was born in 1977; Jalbert was born in 1967—understand and admire each other; it’s a happy pairing in which the poetry is enhanced by a composer who loves words but loves music, too. A truly collaborative and moving result.

Of course, it was a great and lovely pleasure just to get out. My husband was working and couldn’t join me, so, in a first (but not a last), I got a sitter to go out solo on a Sunday afternoon. She was a full forty minutes late. I was near tears. Then, track work diverted the 2/3 so I hopped on a C—which turned out to be the train I should have taken all along and, after all that, I emerged from the subway only a half block from the Lafayette Avenue Presbyterian Church, the venue of the Brooklyn Friends of Chamber Music at 3:05. Only five minutes late. And, of course, chamber music concerts in churches don’t begin on the dot of three. I got in line for tickets, far from the last to arrive. I spotted Anthony, in town from Nebraska where he’s now a professor. He was clutching an advance copy of his book, so that was exciting to catch a glimpse of, too. I was so delighted and amused to be amidst so many fellow travelers: Whole Foods tote bags, natural fibers, young folks in cargo pants, old black women in pigtails and floppy hats, a few pretentious men of a certain age, in suits, with beaming female companions (“Look! I’ve got a boyfriend! Look! Doesn’t he look like a cross between Seiji Ozawa and Edward Said?”). About 200 folks in all. With lots of Perrier and Pepperidge Farms cookies at intermission. And two hours of lovely music—of which the “Icefield Sonnets” piece was the highlight—for only $15. What a deal!

Thursday, January 19, 2006

You Don’t Have to Live Here

I read Natasha Radojcic’s other novel over Christmas. While Homecoming has gotten more attention, You Don’t Have to Live Here is not to be missed either. Homecoming which, I believe, was written second but published first, is easier to read and easier to take—as the author told me, people find it easier to read a story about a bad boy than a bad girl.

But if bad girls interest you, read the inspirational and unsentimental novel You Don’t Have to Live Here. It tells the story of young Sasha, a girl being raised by her beautiful mother in (the former) Yugoslavia in the seventies and eighties. The novel begins a little slowly and is generally a bit harder to read than Homecoming. The latter takes place in a single day and has a seamless narrative structure. You Don’t Have to Live Here, a more ambitious, book is also more fragmented, more episodic. But, from the moment Sasha goes to Cuba things pick up and accelerate through the rest of this short great book. The Cuban interlude is fascinating in its own right for its Alice-in-the-looking-glass look behind the iron curtain: Sasha’s uncle is appointed the Yugoslavian ambassador to Cuba and, in accompanying him, she attains a level of luxury and celebrity she had not had at home; her mother even dances with Fidel!

Upon her return, however, Sasha’s hard luck bounces her from family to family, mishap to mishap. Her mother develops terminal cancer and she is left to fend for herself. In Greece, her father’s benign neglect sends her into the arms of some handsome American soldiers and, in part because of them, she takes her dream of moving to America seriously. The scene of her joyously shooting a pistol into the air at her own good-bye party is one of the most poignant and terrifying in the book: desperate to fit in, to do the normal thing, she always manages be just a little bit off key. Radjocic conveys the loneliness of boldly plunging in only to find one has mistepped, of having to carry on anyway, with tremendous sympathy. When gets to New York, she finds a job—but not just any job. Working at the Pink Pussycat in the Village, Sasha befriends dealers and strippers while polishing the sex toys in the window. (This part of the story at least, is autobiographical and, alas, locked behind the Times’ firewall.)

In an interview on WNYC (scroll down), the host asked her what she wanted people to learn or get from her work and she gave a great answer: that you don’t have to live here, that, however bad things are, you can always take steps to make changes. I loved that play with the title and was devastated and very moved to find the title phrase appearing in the book in a much more melancholy context. Lovely.

But the end of the book made it for me. So read it all the way through and tell me if you don't agree. It’s short and great.

Wednesday, January 18, 2006

Happy Anniversary!

That's right, it's been a year since my first post here at Fernham. 175 posts this year, not quite up to my goal of 4 posts a week. Over 9,000 visitors so far, though, at over forty a day. Mostly from Americans, with some regulars in Colombia, England, Australia, and Japan and I'm really amazed and delighted to see Latvia, Nigeria, & Saudi Arabia all show up on my sitemeter map from the past 48 hours.

I find that I think in blog posts now, shaping little stories of my day and weighing their fitness for posting here.

Fernham isn't going anywhere for now, up down or sideways, just humbly trucking on, writing about books and bookish things a few times a week as long as it's still fun. Thanks for reading!

Monday, January 16, 2006

Poetry: an eccentric list of ten

Classes begin tomorrow. I’m teaching two sections of a first-year (college) core course, an introduction to literature. So, my brain is crowded with the logistics of the syllabus. I decided to focus on close reading rather than comprehensiveness this year. That means only six short stories, only one play, and, most strange, heartbreaking and painful of all, only ten poems. We end with Mrs. Dalloway and a bunch of related secondary readings. I spent a lovely Friday in the main reading room at the New York Public Library going through my anthology (R.S. Gwynn’s Literature: A Pocket Anthology: only thirty dollars and full of good old stuff, not the typical, heavily contemporary short anthology) and picking twenty poems. Pulling it together today, I realized that, as usual, I had about a week less than I thought. That means, only ten poems. What an odd list that makes. Not at all what I would have expected, but I think a fun and formally, thematically diverse selection of tough poems worthy of intense thought. Here they are:
  1. John Donne, “The Canonization,” 1633
  2. Walt Whitman, “Crossing Brooklyn Ferry,” 1881
  3. Emily Dickinson, “I felt a funeral in my brain,” 1896
  4. William Wordsworth, “Ode: Intimations of Immortality,” 1807
  5. Gwendolyn Brooks, “the mother,” 1945
  6. Seamus Heaney, “Digging,” 1980
  7. George Herbert, “Easter Wings,” 1633
  8. John Keats, “Ode on a Grecian Urn,” 1819
  9. Elizabeth Bishop, “The Fish,” 1946
  10. Frank O'Hara, “The Day Lady Died,” 1964

It’s weird and heartbreaking to leave off Yeats and Eliot. I feel bad that there is not a sonnet in the bunch but we are doing Othello so don’t despair of Shakespeare’s absence. Strangely, this does not look anything like what my top ten favorite poem list would look like (not that that does—or will—exist). What do you think?

Thursday, January 12, 2006

NYC event: Brooklyn Friends of Chamber Music, 1/22

My friend, the poet Anthony Hawley, is coming back to NYC from Nebraska next weekend for a concert that sounds really promising: on the program are some of his poems set to music. A fitting thing as his wife is a musician herself. So, here's the press release in case you're in the area and are looking for an affordable poetry & music event, too:

The program:
Aram Khatchaturian: Trio in G minor for clarinet, violin and piano
Pierre Jalbert: Icefield Sonnets on poetry of Anthony Hawley for soprano, baritone, violin, cello, percussion and piano; Nicholas Armstrong, conductor
Pierre Jalbert: Two movements from the Sonata for Marimba
Pierre Jalbert: Four Porter Songs on poetry of Christina Porter for soprano, baritone and piano
Walter Rabl: Quartet for clarinet, violin, cello and piano, op. 1
[...]
Pierre Jalbert (1967) served as composer-in-residence with the Los Angeles Chamber Orchestra and teaches composition at the Shepherd School of Music at Rice University in Houston. He was awarded a Rome Prize, a BBC Masterprize, a Guggenheim Fellowship and BMI and ASCAP awards, among many others.

Anthony Hawley (1977) teaches poetry at the University of Nebraska, Lincoln. His first full-length collection of poetry, The Concerto Form, will be published in February 2006.

Christina Porter (1984-2005) graduated from Saint Ann's School ('02) in Brooklyn and was a sophomore at Dartmouth College. She died from a head injury sustained while skiing. The concert serves as a tribute to Christina, whose love for music, art and poetry has survived her untimely death.

Sunday, January 22, 2006, at 3 PM, Brooklyn Friends of Chamber Music
at the Lafayette Avenue Presbyterian Church at Lafayette Avenue and South Oxford Street, Fort Greene, Brooklyn,
four short blocks from the Brooklyn Academy of Music.

Tickets: $15, available at the door. Seven tickets: $70. Students: $5.
TDF and High 5 vouchers accepted. Each ticket will be honored at any of the concerts.
Information: (718) 855-3053.

Wednesday, January 11, 2006

Four Things Meme

Dave tagged me, in an effort to jolt me back from vacation (and, perhaps, to make me more forthcoming than usual). Here goes:

Four Jobs You’ve Had
  1. babysitter
  2. dishwasher and prep cook
  3. bookstore clerk
  4. English professor

Four Movies You Could Watch Over and Over
  1. Annie Hall
  2. any Sean Connery James Bond
  3. Le Rayon Vert or any similarly talky Eric Rohmer
  4. The Philadelphia Story

Four Places You’ve Lived
  1. Seattle, WA
  2. New Haven, CT
  3. Cambridge, MA
  4. Fillmore, IN

Four TV Shows You Love to Watch
  1. the late, lamented NewsNight with Aaron Brown
  2. Good Deal with Dave Lieberman
  3. Extreme Homes: Makeover Edition (I’m blushing)
  4. Project Runway

Four Places You’ve Been on Vacation
  1. Paris
  2. London
  3. New Orleans
  4. Thousand Islands, NY

Four Blogs You Visit Daily
  1. WordMunger
  2. Chekhov’s Mistress
  3. MetaxuCafe
  4. Gothamist

Four of Your Favorite Foods
  1. cheese
  2. hard-smoked salmon
  3. caramel in all its forms
  4. cheese is really good.

Four Places You’d Rather Be
  1. Paris
  2. a big apartment on the Upper West Side
  3. an elegant apartment in a quiet corner of the West Village
  4. a bigger apartment, one that actually has kitchen drawers instead of a shelf with mugs for silverware

Four Albums You Can’t Live Without
  1. Sondheim, A Little Night Music
  2. Jacques Brel, 2-CD Greatest hits
  3. Beleza Tropical: Brazil Classics 1 (a David Byrne compilation with lots of Caetano Veloso)
  4. Ella Fitzgerald, The Rodgers and Hart Songbook

Four Vehicles You’ve Owned
  1. 1975 Checker Cab, 1986-1996 (gift/hand-me-down from home & the car I learned to drive on)
  2. 1985 Honda Civic, 1996-2002
  3. 2002 Volkswagen Golf, 2002-04 (the only painful sacrifice in leaving Indiana for New York/New Jersey and truly my car—we share the Subaru)
  4. 1998 Subaru Outback, 1999-present (awaiting summer in the safety of my mother-in-law’s garage upstate)

Four Taggees
I’m so late to this party that I won’t tag anyone, but do play along!

Tuesday, January 10, 2006

Hope and Other Dangerous Pursuits

Her question was exactly what he feared—that Lahcen’s assurances of help would give Zohra hope, a hope that he knew would eat away at her determination to let him go…

I have been a fan of Laila Lalami’s Moorish Girl for over a year and I suspected—knew—that I would like her novel. But how did I know that? Moorish Girl isn’t a very audaciously personal blog; it’s mostly a collection of stories about writers and writing from around the world; she doesn’t write much about herself. Having read—and loved—the novel, I can see now what I should have been able to guess about how the two connect. Her blog is really interested in the outside world. Her entries often cover the way that writers run afoul of politics and the way that novels teach us things that are hard to learn from the newspaper.

Her novel, too, is all about the way that politics intrudes on individual dreams. The conceit is simple, and elegant. The opening chapter details a brief, harrowing journey from Morocco to Spain in a little Zodiac lifeboat. Then, four chapters give us the backstory of each of four characters from the boat—what led them to make this dangerous choice. Four more chapters detail what happens after Spain: some are deported and must resume life in Morocco, others, in Spain, face new challenges; all remain poorer than they want to be; all remain poor.

There’s a lot to like about this short, moving book. Many images haunt me still. Here’s one: as the Zodiac nears the shore, the captain orders everyone to swim the final yards to shore. Murad must shake off the desperate clinging of a young girl who cannot swim; he cannot save himself and her both. Ashore, he is not only dogged by guilt but also arrested. He feels utterly defeated. Then, catching sight of her in the same police station, he feels relieved and elated that she is still alive. The quick, unsentimental extremity of emotions here, the way that being arrested seems like an end to him until he thinks to be relieved that the arrested girl is at least alive, seemed precisely right to me. There are lots of moments like this here—lots for you to enjoy when you turn to it yourself.

Monday, January 09, 2006

Welcome, 2006!

It’s seemed unusually hard to get this year started. After a lovely ten days in Seattle, I spent a week curled up in bed, only leaving to do the occasional load of laundry or defrost the occasional quart of soup from the freezer. Now, we are back from a weekend upstate, visiting Grandma and bringing bags of outgrown clothes to our little storage shed in Saquoit, bringing bag bags of soon-to-be needed clothes to our littler apartment in Jersey City.

During these weeks, I saw Capote and Dr. Zhivago--both incredibly good, as advertised—and read Natasha Radojcic’s You Don’t Have to Live Here, J. R. Moehringer’s The Tender Bar, and Laila Lalami’s Hope and Other Dangeroous Pursuits. All three were great and I look forward to writing more fully about each this week.

For now, it feels like an achievement simply to announce that I’m back.