An excellent essay on John Updike and the work of book reviewing. [via tim walker]
Category: books
A Whole New Mind (review: 2.5/5)
I first heard about A Whole New Mind: Moving from the Information Age to the Conceptual Age when Joshua Blankenship posted this excellent quote from author Daniel Pink. Great stuff, so I found the book, which isn’t as great.
The premise is that the Information Age was led by left-brained, linear-thinkers. Now, as we enter the Conceptual Age, the balance is shifting such that right-directed, sympathetic, synthetic thinkers are more and more valuable.
To survive in this age, individuals and organizations must examine what they’re doing to earn a living and ask themselves three questions:
- Can someone overseas do it cheaper?
- Can a computers do it faster?
- Is what I’m offering in demand in an age of abundance?
Luckily the book isn’t about outsourcing paranoia, but about some soft skills and sensibilities you’ll need: Design, Story, Symphony, Empathy, Play, and Meaning. The book is heavy on the anecdote, and generally light-hearted, but not particularly gripping. Like some other pop-business books I’ve read like The Long Tail and The Tipping Point, I think it would have been great as a long essay. As a book it feels a bit thin. I’ve heard excellent things about Pink’s other book Free Agent Nation, so maybe that’s worth a look.
Now and Forever: Somewhere a Band Is Playing & Leviathan 99 (review: 3/5)
Ray Bradbury‘s latest, Now and Forever: Somewhere a Band Is Playing & Leviathan ’99, gathers a pair of unpublished novellas that he’s been brewing for a couple decades. The first story, “Somewhere a Band Is Playing,” revisits the usual Bradburyan perfect-yet-eery small-town America, in the form of a writer’s colony where there are no children. “Leviathan ’99” is a sci-fi reimagining of Moby Dick, with fanatics chasing a comet instead of a whale. They’re good stories if you can snag it from a library and just want to burn an hour or two. He’ll always give you a few great sentences, and he can pack some dense ideas in light prose. But there is no way I’d buy it at the $24.95 sticker price. It seems absurdly high for an 8×6 hardback that barely makes 200 pages. Like I noticed in his previous Farewell Summer, the publisher beefs up a fairly thin book with extra line-spacing, which probably annoys me more than it should.
The Baseball Economist: The Real Game Exposed (review: 3.5/5)
I enjoyed reading Moneyball last month, so I got the notion to explore some other baseball books. The Baseball Economist: The Real Game Exposed is pretty good, and a surprisingly quick read. The author/ economist JC Bradbury runs Sabernomics, a baseball nerd blog that’s well worth your time.
As you might expect, Bradbury applies some statistical tools and good old-fashioned open-minded economic reasoning to various aspects of baseball. Topics for discussion range from why batters get hit by pitches in the AL more than the NL, the best ways to measure hitting and pitching, manager ejection theory, salary negotiations, whether MLB is a monopoly, etc. I have to say Bradbury does a pretty darn good job of breaking down the statistics and economics jargon he introduces. Marginal revenue product and regression analysis exist happily along with LOOGYs and the cup of coffee. The thought process behind the studies he’s developed is fascinating in its own right—sometimes it’s just cool to read how someone thought through an intricate project, accounting for variables and dealing with potential bias. I also give Bradbury bonus points for quoting from one of my favorite thinkers, Frederic Bastiat.
One last thing that amuses and delights me to no end: almost a full third of the book is dedicated to the most extensive back matter I’ve ever seen outside of purely academic texts. There’s an epilogue, acknowledgements, one two three four appendices, an endnotes section, a bibliography, and an index.
Ex Libris: Confessions of a Common Reader (5/5)
I like books, and therefore tend to like books about books and the bookly experience. Enter Anne Fadiman‘s Ex Libris: Confessions of a Common Reader. An excerpt from the first chapter from the book, “Marrying Libraries,” is available online.
Fadiman has a somewhat unique experience, growing up in a family that is pretty much insane when it comes to the written word (as evidenced by proofreading restaurant menus together, weekly quiz shows, keeping logs of book & newspaper errors, and so on), and marrying another booknut husband. All of the essays are couched in this experience. Despite her… interesting family, the undeniable pleasure of books like this is the experience of seeing myself. It’s like when you identify with a character in a movie, or when you read those silly descriptions about personality traits of your Zodiac symbol but you find yourself nodding your head, or just the simple joy of having a friend describe you accurately.
The essay that really got me was about compulsive proofreading. One of her editor’s daughters “manifested the gene at an early age by stopping at dammed-up streams during family hikes and removing all the dead leaves.” Oh, yes, that’s definitely me when I was a toddler. And I was still doing it when I went hiking on the Appalachian Trail this summer. Fadiman goes on, still talking about me in a roundabout way:
The proofreading temperament is part of a larger syndrome with several interrelated symptoms, one of which is the spotting mania. When my friend Brian Miller, also a copy editor, was a boy, he used to sit in the woods for long stretches, watching for subtle animal movements in the distance… Proofreaders tend to be good at distinguishing the anomalous figure—the rare butterfly, the precious seashell—from the ordinary ground, but unlike collectors, we wish to discard rather than hoard. Although not all of us are tidy, we savor certain cleaning tasks: removing the lint from the clothes dryer, skimming the drowned bee from the pool. My father’s most treasured possession is an enormous brass wastebasket. He is happiest when his desktop is empty and the basket is full. One of my brother’s first sentences, a psychologically brilliant piece of advice offered from his high chair one morning when my father came downstairs in a grouchy mood, was “Throw everything out, Daddy!”
Spotting, check. Dryer-lint cleaning, check. Throwing things away, check. Fadiman is singing my tune.
There’s another essay about sonnets and the struggle to write. In one passage, Fadiman looks over some of her sonnets and realizes that she “had mistaken for lyric genius what was in fact merely the genetic facility for verbal problem-solving that enabled everyone in my family to excel at crossword puzzles, anagrams, and Scrabble.” Been there!
The fifth chapter offers a disquisition on the care of books. Fadiman posits two schools of thought. There are the courtly lovers, who argue “a book’s physical self was sacrosanct, its form inseparable from its content; her duty as a lover was Platonic adoration, a noble but doomed attempt to conserve forever the state of perfect chastity in which it had left the bookseller.” And then there are carnal lovers: “a book’s words were holy, but the paper, cloth, cardboard, glue, thread, and ink that contained them were a mere vessel, and it was no sacrilege to treat them as wantonly as desire and pragmatism dictated. Hard use was a sign not of disrespect but of intimacy.” I used to be strictly courtly, but I’m loosening up a bit these days. Just a bit.
Some of my other favorites were a heavily-footnoted essay on plagiarism (quoting Robert Merton: “Anticipatory plagiarism occurs when someone steals your original idea and publishes it a hundred years before you were born.”), and another one on the joys of reading aloud. So Fadiman is really brainy, but most of the book had me laughing, too. In an extended disquisition on reading catalogs, she mentions “although it is tempting to conclude that our mailbox hatches them by spontaneous generation, I know they are really the offspring of promiscuous mailing lists, which copulate in secret and for money.” I’m sure that imagery will stick with me for a long time. It’s one of those books that leaves you smiling at the end. When I put it on my shelf, there’s that little tingle of joy knowing it was mine to take back down again. Sometime soon.
Man, The Rest Is Noise was a great book. Review coming soon-ish, after I go through all my dog-ears.
Reading Comics: How Graphic Novels Work and What They Mean (review: 4/5)
I finished this one a couple weeks ago, but never wrote anything. In Reading Comics, Douglas Wolk writes with an eye to the reader’s experience of comics. He avoids a lot of comics theory (“You already pretty much know what they are, and ‘pretty much’ is good enough”), focusing instead on loving criticism.
It was really good. Some of his criticism was lost on me simply because I didn’t know the comics he was writing about, but it was worth reading anyway. I don’t remember the book well enough to write a lot. Nevertheless, I wanted to make sure I shared some quotes I enjoyed:
- “Anytime a French word comes into play in an English-language discussion, you can be sure there are some class dynamics going on.”
- “The meta-pleasure of enjoying experiences that would repel most people is, effectively, the experience of being a bohemian or counterculturalist.”
- “There’s a certain kind of rain that falls only in comics, a thick, persistent drizzle, much heavier than normal water, that bounces off whatever it hits, dripping from fedoras, running slowly down windowpanes and reflecting the doom in bad men’s hearts.” (aka eisenshpritz)
- Following The Dark Knight Returns, “a sense of eschatology crept into superhero stories, as their battles became battles for the soul of modernity.”
- “There are two kinds of horrors stories. One is matin?©e horror, in which some kind of monster or grotesquerie rages across a landscape of innocence until it’s finally destroyed and the natural order of things is restored. Its threat is neatly defined—it’s Frankenstein, a vampire, a werewolf, a plague of zombies, a serial killer in a mask; there are always specific rules for how it can be beaten. The pleasure of reading the story is the pleasure of seeing justice done and the formula cleanly executed.”
And that last one is broadly applicable to any genre. That’s why action movies and romantic comedies work. I like that idea of the pleasure of seeing it executed. Aside from any literary merits of the work, that is the reader’s experience. They generally know the expectations of the genre, the wonder comes from seeing how the author meets or betrays them.
“In ninth grade I looked like Gollum. Not much has changed, really, but in ninth grade it was more like fetal Gollum.” In Salon, a few stories by teenage girls from the book Red: The Next Generation of American Writers—Teenage Girls—on What Fires Up Their Lives Today. It runs the gamut from funny to sad to disturbing to touching. I wonder what the guys would write (are writing?). [thanks, kevin]
A Rothko book

I screwed up another book I was making, so I just swapped the text block into a perfect-bound cover (with French flaps, to boot). The cover art comes from Mark Rothko‘s 1951 “Violet, Green, & Red.”
Undisciplined reading
Matthew Brown has a wonderful and wide-ranging essay on reading. His topic is “undisciplined reading” in particular, reading that is non-linear, fragmented, discursive. This essay matches well with a couple other essays by Lethem and Gough that I’ve enjoyed this year. They all touch on or orbit the same ideas of influence and remix and pastiche and story-telling. There’s also a bit on constrained writing towards the end.
Brown offers the perspective of an active, creative reader. In contrast with the fairly recent tradition of following an unbroken narrative in a novel, Brown writes,
A more enduring practice and one equally generative of surprise might be called collative reading. Early New England clerics would collate passages from various tomes in their libraries to compose sermons. Yet it wasn’t only the learned who would follow such nonlinear reading methods. Typology, where readers traced Old Testament foreshadowings of New Testament events, is profoundly collative, and the comparing of Hebrew Bible and Christian Gospels was at the heart of practical piety. If you think those prescribed schedules that allowed the devout to complete the bible in a continuous read over the year were the norm, think again: Cotton Mather recommended in his 1683 almanac that readers spend each day discontinuously sorting through the Old Testament, the New Testament, and the Psalms. CommonplacingÄîthe collection and transcription of discrete passages from one’s reading under alphabetical or topical heads within personal miscellaniesÄîwas as important to Reformation pietists as it was to Erasmian humanists. Each of these nonlinear methods was a source of fresh insight, which would help the reader create oratory, apply scripture, or deepen faith.
Now there is a connection I’d never made before. Along with thousands of others, I do a modern variation on commonplacing pretty much every day—on del.icio.us.
Brown goes on to quote another great line (“a book was an outdated means of communication between two boxes of index cards”) before talking about the effects of mass printing… synergy!
Put less dismissively, the intellectual historian James Burke explains collative reading in terms of the equation 1+1=3. For the active reader, two disparate pieces of informationÄîfound in separate items across the shelves of a library or even across the leaves of a single reference workÄîadd up to a third, unknown category of thought. The real thrust of the Gutenberg revolution lies here rather than in movable type, mechanical reproduction, or standardized knowledge. The product of the printing press meant there were radically expanded opportunities for nonlinear access to written ideas.

I’ve been pining for this book since March. At long last, the Amazon Fairy turned a pretty crappy day into… well… Friday!
Fancy Coffins to Make Yourself, a woodworking guide by Dale Power. People who bought that book also bought Animatronics: Guide to Holiday Displays.
“Theatre directors don’t review plays. And film stars don’t review the new releases. So why are so many novelists allowed to pass judgement on the literary efforts of their friends?”
He’s Just Not That Into You (review: 4/5)
I’m fairly open to reading ‘girly’ books every now and then (see my reviews of Heidi Klum’s Body of Knowledge, How to Walk in High Heels, and The Practical Handbook for the Boyfriend). A friend of mine got me to read He’s Just Not That Into You: The No Excuses Truth to Understanding Guys. It’s a quick, fun read, and I think both sexes could benefit from it.
Perhaps there are limits to the no-nonsense approach. Co-author Greg Behrendt (writing with Liz Tuccillo) doesn’t have a whole lot of room for forgiveness, but you have to admire that he takes happiness so seriously. If you don’t set your own rules, then you’re setting yourself up for disappointment. There’s a lot of motivational talk (you are beautiful, you deserve the best, etc.). But while the message is insistent, the book doesn’t take itself too seriously. The end-of-chapter “worksheets” are delightful parodies of the usual junk in self-help books.
Here’s a good bit on drug-addled relationships: “So, he’s always stoned when he’s with you… You’re going out with someone that doesn’t enjoy you at your full levels. That’s tantamount to him liking you better when you’re in the other room.”
So maybe he’s super busy with work and school and gets a little tense and lashes out: “I don’t care if he’s studying to become the next Messiah. There is no reason to yell at anyone ever, unless you are screaming ‘Look out for that bus!'”
On breaking up and futile waiting & wishing: “100% of men polled said that when they broke up with someone, it always meant that they didn’t want to go out with them anymore.” Cold, hard truth.
On resistance to marriage: “You are allowed to have aspirations for your future and to know whether the relationship you’re in is going to take you closer to those aspirations or be the demise of them.” And that’s just generally good life advice.
The Pinball Theory of Apocalypse (review: 1.5/5)
The Pinball Theory of Apocalypse is a book by Jonathan Selwood. Maybe I have a basic malfunction, but a lot of books that aim for humor are just kind of exhausting.
There’s some interesting goofy personalities in the book, but they just sort of drift between skits. Ehhhh… I don’t like whining about books all that much, so why don’t you read the LA Times review instead. I think it’s pretty fair.
“With pre-production topping out at somewhere over 500 years, BibliOdyssey might well be the slowest book ever published.” Looks like a winner.
I thought I had no choice but to write about the 20th century; it’s such an extraordinary body of work that is relatively little known, especially in terms of your average educated person who can tell a Picasso from a Jackson Pollack and has read widely in contemporary literature and knows the great books of the 20th century, but will freeze up when you mention Schoenberg and Stravinsky. The thing is, they know the music, they know the sound of the musicÄîthey’ve been exposed to it in one form or another on film soundtracks, in concerts, or on CDsÄîbut they don’t necessarily know where this music came from, and how it all fits together, and how one composer affects another or reacts to another.
The Best American Comics 2006 (review: 4/5)
A little slow getting to this one, but it was worth the wait. The Best American Comics 2006. There’s a lot to cover in the collection, so I’ll just highlight the authors and stories I enjoyed the most.
Joel Priddy, “The Amazing Life of Onion Jack”: a short bio of an aging superhero who really wanted to be a chef. I liked the clean stick figure styling in this one. Charming humor and great timing.
Lilli Carr?©, “Adventures of Paul Bunyan & His Ox, Babe”: the classic folk hero, re-imagined. Paul is a sensitive, Proust-reading guy with real-world difficulties. His well-paced dialogue with Babe is reinforced by this really clear, powerful sense of setting.
Ben Katchor, “Goner Pillow Company”: about pillows designed for sitting at windows. I like the basic concept here, briefly fantasizing about a world where people look out of windows instead of into our electronic boxes.
Jonathan Bennett, “Dance with the Ventures”: early morning, a guy goes scavenging for old records in the trash. I love the dramatic inner dialogue. You can instantly relate to it.
John Porcellino, “Chemical Plant/ Another World”: driving through a factory at night. I don’t know how, but he captures a spooky night-time scene in panels that are really white-heavy.
David Heatley, “Portrait of My Dad”: short vignettes about his father. I love the color and density of the pages. Here’s the first page. Just an all-around beautiful chronicle of the relationship.
Jessica Abel, “Missing”: an argument with a mirror, and an argument with a friend. The body language is wonderful in this excerpt from La Perdida.
Kurt Wolfgang, “Passing Before Life’s Very Eyes”: an old man dies, floats around, learns the truth. The dialogue borders on the preachy-casual, but the final panels are really satisfying.
Jesse Reklaw, “Thirteen Cats of My Childhood”: a memoir of family and feline relationships. I had expected to hate this one, but I loved it. It was more text-heavy than many of the others, so you can really dig in to the story.
The Elements of Style (review: 3/5)
I’m not sure what all the fuss is about. The Elements of Style is a handy little guide, sure. Brief, pithy. I suppose I’ve just heard it mentioned so many times that I was expecting a bit more. Honestly the best part of this particular edition of Elements was the illustrations by Maira Kalman. (Kalman has done a year-long illustrated story in the New York Times, which will soon be released in her book The Principles of Uncertainty.)
Elements didn’t earn a place on my shelf. It touches on some of the nuts and bolts of writing, and some of the philosophy, but none of the sections really feel complete. If you’re looking for clinical advice on commas and grammar, you’re probably better off with a dedicated grammar book or style guide. And if you’re looking to seriously clean up your text, and to apply some thought and reason to your writing, for my money the better choice is something like Joseph Williams’ Style: The Basics of Clarity and Grace.
Alex Ross talks with Robert Siegel on NPR about 20th century music. Ross’ new book, The Rest Is Noise, is coming in a few days—looking forward to 640 pages of music history goodness!