Top Books for 2007

Let’s see… glancing back through the year, here’s what I’m most glad to have read. I wrote about most of these…
Fiction:
The Road by Cormac McCarthy
The Strange Case of Dr. Jekyll & Mr. Hyde by Robert Louis Stevenson
Down and Out in the Magic Kingdom by Cory Doctorow
Burning Chrome by William Gibson

Non-Fiction:
The Rest Is Noise: Listening to the Twentieth Century by Alex Ross
Ex Libris: Confessions of a Common Reader by Anne Fadiman
Reading Comics: How Graphic Novels Work and What They Mean by Douglas Wolk
He’s Just Not That Into You by Greg Behrendt and Liz Tuccillo
The Blind Side: Evolution of a Game by Michael Lewis
Interaction of Color by Josef Albers
Theory and History by Ludwig von Mises
Style: The Basics of Clarity and Grace by Joseph Williams

Comics:
Curses by Kevin Huizenga
Tales of Woodsman Pete by Lilli Carr?©
Plastic Man: Rubber Bandits by Kyle Baker
The Surrogates by Robert Venditti

Too bad I don’t have a better remembrance of what I read but didn’t review. Need to keep better track of that.

The Road (review: 5/5)

Cormac McCarthy‘s The Road takes place in a post-apocalyptic America. The novel centers on a father and son who, realizing they can’t survive another winter, start moving through the southeast towards the coast, trudging through snow and ash with their belongings in a scavenged shopping cart. Where they leave from, where exactly they are going, and what they hope to find are never made completely clear, just as the cause of society’s downfall is unexplained. But the beauty of the story is in everyday purpose they find in each other despite the struggle. There are a few tense moments avoiding bands of thieves and cannibals or other desperate nomads, but most of the book is a catalog of daily trials and conversations, simply and lovingly told.
McCarthy’s language is surprisingly simple and repetitive. It often called to mind a bit of the last stanza of “Thirteen Ways of Looking at a Blackbird“:

It was evening all afternoon.
It was snowing
And it was going to snow.

Like Wallace Stevens’ poetry, McCarthy’s book has something of music in it. At times, since the book has no chapters or divisions larger than a few paragraphs, it reads like a very long unbroken poem or chant or something you might read aloud. McCarthy occasionally disrupts this flow with some whiz-bang vocabulary (e.g. gryke, chary, kerf), but for the most part it’s just really wonderful.

Flash Fiction Forward: 80 Very Short Stories (review: 3.5/5)

Flash Fiction Forward collects a bunch of stories that only take a couple of page turns to finish. One thing I thought was odd is how none of the stories take on a particular genre, and how many of them seem to have a contemporary setting. Why not a tight little detective story, or a scene from a Civil War battle field, or a nice little 13th century abbey? I’m all for penetrating meditations on modern relationships and culture and stuff, but it’s a shame to see such talent spent in a narrow range.
In any case, many of these stories are quite good, and the low cost of reading means you should take a glance. Some of the stories I particularly liked are:

“Before the Bath” by Ismail Kadare
“The Great Open Mouth Anti-Sadness” by Ron Carlson
“Rose” by John Biguenet
“The Old Truth in Costa Rica” by Lon Otto
“I Never Looked” by Donald Hall
“Fab 4” by Jenny Hall
“Words” by John A. McCaffrey
“21” by Jim Crace
“The Orange” by Benjamin Rosenbaum
“Geometry Can Fail Us” by Barbara Jacksha
“Bill” by Dan Kaplan
“00:02:36:58” by Bayard Godsave
“Traveling Alone” by Rob Carney
“The Death of the Short Story” by J. David Stevens

One final note: it’s incredibly disappointing how many of these stories are not (easily) available online.

You Don’t Love Me Yet (review: 3.5/5)

At the heart of You Don’t Love Me Yet is a band. Well, a band without a name that hasn’t had a gig yet. The story follows Lucinda, the bassist, as she navigates the post-break-up phase with Matthew, the lead singer. The whole book is about process, creation, becoming, limbo, liminal states. The book starts after Matthew and Lucinda split, before the band ever makes it big, and each, in a way, has a new beginning that we don’t get to see. We get to see the shifting in between.
The band finally gets a little bit of traction when Lucinda steals ideas for lyrics from the Complainer, a guy who calls the complaint line where Lucinda works. The Complainer later insists on joining the band, which makes everything awkward because Lucinda has been dating him… and no one else knows that’s where the lyrics came from. (And Matthew abducted a kangaroo from the zoo, by the way.) Denise is the drummer, appropriately, the one trying to hold things together.

In one scene, Bedwin, the chief lyricist and creative, confesses that he’s struggling:

“I’ve been trying. I’m having a sort of problem with language.”
“What do you mean?”
“With sentences… words.”
“We know what language is, Bedwin,” said Denise, not unkindly.
The three had turned to Bedwin now, half consciously, as though reaching out to support someone freshly released from a hospital, a man tapping down a ramp on crutches.

I love those analogies that Jonathan Lethem comes up with. Throughout the book there are these really wonderful, roundabout, visual ways of describing how people act or move or gesture. Here’s a vivid fashion description: “his white shirts were uniformly crisp and bright, as if pulled from a dispenser like tissues.” Another scene describes returning to an apartment after a long absence, with the answering machine blinking and “the slaw of mail beneath the door slot.”

One other great moment worthy of mention is at the band’s brief climax, their big moment. The whole 8 or 10 page sequence is really sharp. Lethem switches narrative voice, and the musicians all lose their proper names. They become “the singer,” “the drummer,” “the women,” “the men,” “the band.” And it’s during that concert when the band finally achieves its own name. But while the band blossoms, their relationships start to fray.

You can hear Lethem reading a portion from the beginning of his book on NPR. Lethem also has a interesting film option for this book, surrendering rights for derivative works after a short waiting period:

I’ll give away a free option on the film rights to my novel You Don’t Love Me Yet to a selected filmmaker. In return for the free option, I’ll ask two things:

1. I’d like the filmmaker to pay (something) for the purchase of the rights if they actually make a film: two percent of the budget, paid when the completed film gets a distribution deal. (I’ll wait until distribution to get paid so a filmmaker without many funds can work without having to spend their own money paying me).
2. The filmmaker and I will make an agreement to release all ancillary rights to the film (and its source material, the novel), five years after the film’s debut. In other words, after a waiting period during which those rights would still be restricted, anyone who cared to could make any number of other kinds of artwork based on the novel’s story and characters, or the film’s: a play, a television series, a comic book, a theme park ride, an opera – or even a sequel film or novel featuring the same characters. For that matter, they can remake the film with another script and new actors. In my agreement with the filmmaker, those ancillary rights will be launched into the public domain.

I’m curious to see what comes of it.

The Rest Is Noise: Listening to the Twentieth Century (review: 5/5)

Early on in his new book, Alex Ross identifies one thing that separates music from other arts: “At a performance, listeners experience a new work collectively, at the same rate and approximately from the same distance. They cannot stop to consider the implications of a half-lovely chord or concealed waltz rhythm. They are a crowd, and crowds tend to align themselves as one mind.” Though Ross doesn’t say it outright, that also applies to crowds of composers.
Much of his new book, The Rest Is Noise: Listening to the Twentieth Century, is spent wrestling with the idea of the push and pull of the crowd and the “split between modernist and populist conceptions of the composer’s role.” There’s that clever insinuation in the title. Though the book brings up a lot of music, yes, but it’s also about listening to the era, the shifting alliances and rivalries among composers, the feedback loop of popular culture, ethnicity, politics, war.

And the buildup to and endurance of wartime dominates the much of the book. His description of the Teens and Twenties has some eerie parallels with today:

For anyone who cherishes the notion that there is some inherent spiritual goodness in artists of great talent, the era of Stalin and Hitler is disillusioning. Not only did composers fail to rise up en masse against totalitarianism, but many actively welcomed it. In the capitalist free-for-all of the twenties, they had contended with technologically enhanced mass culture, which introduced a new aristocracy of movie stars, pop musicians, and celebrities without portfolio. Having long depended on the largesse of the Church, the upper classes, and high bourgeoisie, composers suddenly found themselves, in the Jazz Age, without obvious means of support. Some fell to dreaming of a political knight in shining armor who would come to their aid.

Two recurring characters appear in the first half of the book. The first is Thomas Mann‘s book Doctor Faustus, about a composer who makes a bargain with the devil and whose fictional music owes a lot to the real music of Arnold Schoenberg. The second is the opera Salome by Richard Strauss, a scandalous early 20th-century opera. Opera comes up quite often. It’s easier to talk about the music with an explicit emotional narrative. Ross can let the libretto tell the story rather than relying exclusively on musical description or intuition. There are also long treatments of the operas Wozzeck, The Threepenny Opera, Peter Grimes, and Nixon in China.

It makes sense to talk about the big works, the standbys, the headlines. I don’t think he meant to create a comprehensive book, so of course there are some unfortunate absences. Ross mentioned that he regrets he could have spent more time writing about “conservative” composers. Rachmaninov, for example, only gets a few mentions. Though he’s a modern-day orchestral standby (and one of my personal favorites), he didn’t shake things up enough to make it to the book. Carl Nielsen and a bunch of the British also get passed over. Nonetheless, the depth and breadth of research that went into the book is consistently amazing, in part because it flows so well. I don’t think I’ve read non-fiction this enjoyable in a couple years.

Be sure to stop by his website. Ross has audiofiles for The Rest Is Noise on his website, as well as a video introduction. If you’re looking for a great sample, there’s an excerpt from the chapter on Sibelius.

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:

  1. Can someone overseas do it cheaper?
  2. Can a computers do it faster?
  3. 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.

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.

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 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.

The Devil in the White City (review: dnf)

It hurts so much when you want a book to be fantastic, but it’s not. Before I go there, I’ll mention a couple saving graces for The Devil in the White City: Murder, Magic, and Madness at the Fair that Changed America. There’s a great quote from one of the main characters, architect Daniel Burnham: “Make no little plans; they have no magic to stir men’s blood.”
And there’s a cool literary connection. The book takes place during the 1893 Chicago World’s Fair. The main grounds were known as the “White City” for the use of pale stucco on the buildings, and the first widespread use of streetlights. If you’ll recall, there are a bunch of flashback narratives in Jimmy Corrigan, the Smartest Kid on Earth that also take place during the Chicago exposition. So it was cool to read Devil with some of the sense of wonder and awe and hardship in Chris Ware‘s comic.

I couldn’t finish the book, though.

I hate it when authors don’t trust the story or trust the audience to follow along without prodding. One example I’ll never forget is in the film The Lord of the Rings: The Two Towers. Evil armies are on the march, folks are going to take refuge in Helm’s Deep. Gandalf has to run an errand, but he says to Aragorn, “Look to my coming, at first light, on the fifth day. At dawn, look to the East.

And what do you know, a couple dozen scenes later, evil is at the door and prospects are bleak. But then Aragorn looks at a window with the morning sun shining in, and you get this ham-handed, idiotic Gandalf voiceover… “Look to my coming at first light on the fifth day. At dawn, look to the East.” Uggghhh. Easily one of the worst parts of the whole trilogy. No trust in the audience to remember a great line, no subtlety.

In that vein, Devil author Erik Larson (no relation) does two things that drove me nuts. For one, he subdivides chapters into even smaller chunks. That doesn’t normally bother so much, but his mini-sections get as small as a paragraph or two, or even a lone sentence. Too choppy. The second nuisance—and this is what killed me—is the frequent use of a teaser phrase at the ends of these mini-sections.

  • Why anyone would even want a soundproof vault was a question that apparently did not occur to him.
  • But even he did not, and could not, grasp what truly lay ahead.
  • But again, that was later.
  • It was one more sign of a gathering panic.
  • Which terrified her.
  • Hays grew suspicious and watched Mudgett closely—albeit not closely enough.

Come on. The book’s jacket tells me there’s a serial killer in there. Foreboding is already built-in, no need to pile it on.

Everybody Hurts: An Essential Guide to Emo Culture (review: 2/5)

I heard about Everybody Hurts: An Essential Guide to Emo Culture in Believer Magazine a while back. It’s funny at times, with some good illustrations. I enjoyed being able to point to parts of the emo taxonomy and say “I know someone like that… and that guy… and that one…” And for the emo consumer, there’s a pretty good round-up of what you should be listening to, where you should buy your clothes, etc. The writing is really chatty, though, and I couldn’t help but feel that they were stretching to make a target word count.

Moneyball: The Art of Winning an Unfair Game (review:3.5/5)

I’m prone to reading phases, veering off on thematic streaks. Do other people do this? For example, in the past year I read through the Edward Tufte corpus pretty much back-to-back (reviewed Beautiful Evidence and Envisioning Information), all but one of Steven Johnson’s (reviewed The Ghost Map, Everything Bad Is Good for You), the Scott McCloud comics trilogy (Understanding Comics, Making Comics, Reinventing Comics), etc. I’ve also had a religion/science kick and a language/grammar phase within the past year.
So after wrapping up Michael LewisThe Blind Side, this weekend I finished his earlier book, Moneyball: The Art of Winning an Unfair Game. The question at hand: “What is the most efficient way to spend money on baseball players?”

The central character is the hands-on Oakland A’s General Manager Billy Beane. His story—that of the gifted athlete adored by scouts who crumbles in the majors—sours him on old-school baseball scouting and management. Beane discards baseball’s long heritage of subjectivity and gut instinct (e.g. “the good face“), and tries the objective, stat-crunching approach.

Winding in and out of this story, Lewis explores the work of baseball writer Bill James, the roots of the Society for American Baseball Research, and touches on sabermetrics. If anything, I wish there were more numbers in this book. I would have loved to dig in to some tables and really follow the statistical arguments. But at its heart, Lewis’ book is not a peer-reviewed research article, but a story. A pretty good one.

And as a tangential bonus, Lewis gives an little off-hand bit of writing wisdom:
“If you write well enough about a single subject, even a subject seemingly as trivial as baseball statistics, you needn’t write about anything else.”