Books Acquired, This Week and Last

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Reading for Our Time by J. Hillis Miller from Columbia University Press. Their copy:

A masterclass in attentive reading that opens up brilliant insights into two of George Eliot’s novels. J. Hillis Miller shows how reading Eliot’s great novels Adam Bede and Middlemarch can provide the pleasure and insight unique to reading fiction. The readings focus on famous passages in which the narrator reflects about the story and its characters. What do these passages really say? What role does Eliot’s figurative language play in her storytelling? These stories deal with uncovering their characters’ ideological illusions. By understanding how to expose these illusions, readers will be able to recognize how easy it is to be taken in by such mistakes, both in the personal and in the political worlds.

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Mary S. Lovell’s The Churchills is new in trade paperback from Norton. From the LA Times review:

Intelligent and well-written, like all of Mary S. Lovell’s biographies, “The Churchills” provides a vivid introduction to the family of English aristocrats whose nation-preserving achievements stretch from the Battle of Blenheim to the Battle of Britain and beyond. The Churchills are a much-chronicled clan, and although footnotes indicate that Lovell has read all the relevant books and delved into vast archives of personal papers, there’s nothing startlingly new here. Instead, as she did in “The Mitford Girls,” the author synthesizes a variety of familiar material to create a lively collective portrait.

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Diane Keaton’s memoir is out in trade paperback. It’s a handsome book with stylish color inserts. New from Random House.

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 Great cover on A Simple Murder, new from Eleanor Kuhns. Publisher Minotaur/Macmillan’s write-up:

Five years ago, while William Rees was still recovering from his stint as a Revolutionary War soldier, his beloved wife died. Devastated, Rees left his son, David, in his sister’s care, fled his Maine farm, and struck out for a tough but emotionally empty life as a traveling weaver. Now, upon returning unexpectedly to his farm, Rees discovers that David has been treated like a serf for years and finally ran away to join a secluded religious sect—the Shakers.

Overwhelmed by guilt and hoping to reconcile with his son, Rees immediately follows David to the Shaker community. But when a young Shaker woman is brutally murdered shortly after Rees’s arrival, Rees finds himself launched into a complicated investigation where the bodies keep multiplying, a tangled web of family connections casts suspicion on everyone, and the beautiful woman on the edge of the Shaker community might be hiding troubling ties to the victims. It quickly becomes clear that in solving Sister Chastity’s murder, Rees may well expose some of the Shaker community’s darkest secrets, not to mention endanger his own life.

An atmospheric portrait of a compelling time in American history, A Simple Murder is an outstanding debut from Eleanor Kuhns, Minotaur Books/Mystery Writers of America’s 2011 First Crime Novel Competition Winner.

Microreviews

Henry David Thoreau’s Walden: The Video Game

(About; via Scott Esposito).

E-Books of the Future! (Retrofuture Fun from 1959)

(Via Disonancia, which is probably my favorite thing on the internet right now).

Ezra Pound Shares Poetry Tips from Hardy, Yeats, Ford, and Bridges

Ezra Pound’s poetry tips; from The Paris Review interview:

INTERVIEWER

You once wrote that you had four useful hints from living literary predecessors, who were Thomas Hardy, William Butler Yeats, Ford Madox Ford, and Robert Bridges. What were these hints?

POUND

Bridges’s was the simplest. Bridges’s was a warning against homophones. Hardy’s was the degree to which he would concentrate on the subject matter, not on the manner. Ford’s in general was the freshness of language. And Yeats you say was the fourth? Well, Yeats by 1908 had written simple lyrics in which there were no departures from the natural order of words.

Ben Marcus Talks About His Novel The Flame Alphabet

Life: “A Queer Contraption, Very Dangerous, a Certain Death-trap” (A Passage from Flann O’Brien’s The Third Policeman)

I started Flann O’Brien’s novel The Third Policeman yesterday, on the recommendation of a few readers who commented on a post last week. Just a few chapters in, I felt the thrill of really great, strange writing, coupled with the bizarre, almost unwieldy disbelief that I hadn’t read the novel before, or more to the point, and most ashamedly, that it wasn’t even on my radar. I felt a strange antipathy to the name Flann O’Brien whenever I came across it in the past—too close to Flannery O’Connor, if I’m being honest. This is all silly and I’m embarrassed to write it now. Anyway, the novel is amazing so far. Here’s a passage that maybe stands alone. We have the (as yet?) unnamed narrator, his soul (in italics), and an old man (who may or may not be a version of the narrator?):

I smiled at him in good-humoured and said:

‘Tricky-looking man, you are hard to place and it is not easy to guess your station. You seem very contented in one way but then again you do not seem to be satisfied. What is your objection to life?’ He blew little bags of smoke at me and looked at me closely from behind the bushes of hair which were growing about his eyes.

‘Is it life?’ he answered. ‘I would rather be without it,’ he said, ‘for there is a queer small utility in it. You cannot eat it or drink it or smoke it in your pipe, it does not keep the rain out and it is a poor armful in the dark if you strip it and take it to bed with you after a night of porter when you are shivering with the red passion. It is a great mistake and a thing better done without, like bed-jars and foreign bacon.’

‘That is a nice way to be talking on this grand lively day,’ I chided, ‘when the sun is roaring in the sky and sending great tidings into our weary bones.’

‘Or like feather-beds,’ he continued, ‘or bread manufactured with powerful steam machinery. Is it life you say? Life?’

Explain the difficulty of life yet stressing its essential sweetness and desirability.

What sweetness?

Flowers in the spring, the glory and fulfilment of human life, bird-song at evening – you know very well what I mean. I am not so sure about the sweetness all the same.

‘It is hard to get the right shape of it,’ I said to the tricky man, ‘or to define life at all but if you identify life with enjoyment I am told that there is a better brand of it in the cities than in the country parts and there is said to be a very superior brand of it to be had in certain parts of France. Did you ever notice that cats have a lot of it in them when they are quite juveniles?’

He was looking in my direction crossly.

‘Is it life? Many a man has spent a hundred years trying to get the dimensions of it and when he understands it at last and entertains the certain pattern of it in his head, by the hokey he takes to his bed and dies! He dies like a poisoned sheepdog. There is nothing so dangerous, you can’t smoke it, nobody will give you tuppence-halfpenny for the half of it and it kills you in the wind-up. It is a queer contraption, very dangerous, a certain death-trap. Life?’