In case you need to dispatch a co-worker this Halloween. From the University of Florida’s 2009 Zombie Attack plan—
The National Post profiles Tom McCarthy about his new novel C. Here are a few choice lines from McCarthy–
From Cocteau’s Orphée–
The Paris Review’s 1956 interview with William Faulkner is amazing. An excerpt–
INTERVIEWER: Then what would be the best environment for a writer?
FAULKNER: Art is not concerned with environment either; it doesn’t care where it is. If you mean me, the best job that was ever offered to me was to become a landlord in a brothel. In my opinion it’s the perfect milieu for an artist to work in. It gives him perfect economic freedom; he’s free of fear and hunger; he has a roof over his head and nothing whatever to do except keep a few simple accounts and to go once every month and pay off the local police. The place is quiet during the morning hours, which is the best time of the day to work. There’s enough social life in the evening, if he wishes to participate, to keep him from being bored; it gives him a certain standing in his society; he has nothing to do because the madam keeps the books; all the inmates of the house are females and would defer to him and call him “sir.” All the bootleggers in the neighborhood would call him “sir.” And he could call the police by their first names.
So the only environment the artist needs is whatever peace, whatever solitude, and whatever pleasure he can get at not too high a cost. All the wrong environment will do is run his blood pressure up; he will spend more time being frustrated or outraged. My own experience has been that the tools I need for my trade are paper, tobacco, food, and a little whiskey.
INTERVIEWER: Bourbon, you mean?
FAULKNER: No, I ain’t that particular. Between Scotch and nothing, I’ll take Scotch.
“Hagar & Ishmael” is an excerpt from an unfinished Joseph Heller novel (and yes, we know it’s not new to the internet. It was published by some magazine called The Paris Review a few years ago)–
It wasn’t my idea. Sarah thought of it first. But I was excited from the time she said so, and I began to wash myself everywhere every day, and to keep myself clean after noontime too. I was happy as a lark and chirped and flitted everywhere like a cute little bird, singing to myself merrily and winking to my friends and giggling behind my hands, after Sarah raised the question and Abraham moved me into his quarters to be near him, where I could be watched. Of course I would not have said no even if I could have, and of course I was excited by this chance. I was the envy of almost all of the other women, even of those with husbands.
For a week or more he would not touch me, until it was clear I was not already pregnant with another man’s child, and then for another week also after that, until I was free of the curse and he knew I was not unclean. These people are funny that way, he and Sarah, and Lot and his wife too, before they moved off with their daughters and all their household to dwell away from us in Sodom. Once I lay with Abraham and bore him his son, no other man in the camp came near me again, or seemed to want to, even long after. By the end of one month I was with child. Abraham sent me back and did not use me that way again, although I made eyes at him a lot to show that I wanted him to.
I cannot say truthfully which one of the two of us started the trouble, whether it was Sarah with her envy or me with my vanity and disrespect that kindled the enmity between us and destroyed the feelings of friendship between mistress and slave that had been in all ways favorable since they bought me with money and took me up out of Egypt with them. Probably, it was both. I was Egyptian and a servant, she was his blood relation, a half sister. But she was aged and barren, and I was younger and carrying her husband’s child, the son or daughter of her master that she herself had not been able to bear, and they had been married long.
I could not contain my happiness and my pride in myself and certainly did not wish to hide them. My conceit grew with my belly, expanding without shame. Soon everyone knew I had Abraham’s child. I made sure of that.
Read our review of Wicked River.
The mighty Mississippi River remains perhaps the signal geographical symbol of the United States of America. It divides our country neatly into East and West, flowing down from the industrial North to the agricultural South, and in this sense, the Mississippi is the major artery of America’s heart. We find in the Mississippi a rich mythos, one that both informs and reflects our national character. And while plenty of writers have striven to capture and express the river’s culture and character, it is Mark Twain who more or less invented our idea of the Mississippi. In his fascinating new history Wicked River, Lee Sandlin observes that, “There is a pretty much universal idea that Twain has a proprietary relationship to the Mississippi. It belongs to him, the way Victorian London belongs to Dickens or Dublin belongs to Joyce.” Sandlin’s goal in Wicked River is not to wrest the Mississippi from Twain; rather, he aims to show us the gritty turbulence swelling under Twain’s romantic myth–a myth that many Americans have come to hold as a received truth. Sandlin points out that Twain’s “Mississippi books are works of memory, even of archaeology”; they point to a vibrant river culture in a prelapsarian past, one “with its own culture and its own language and its own unspoken rules.” Sandlin’s own book plumbs that culture, revealing strange, wild tales of river pirates and con-men, fiddlers and gamblers, road agents and robbers, politicians and drunkards, and Indians and would-be “civilizers.” Sandlin’s canny observations come from a myriad of first-hand accounts–always the sign of a legitimate history–but Wicked River is never dry or dusty, but rather brims with vigor and intensity, whether we’re learning about the earthquakes that shook up New Madrid, the tornado that smashed Natchez, the sinking of the Sultana, or the ice floe that destroyed the St. Louis Harbor. Sandlin’s writing is concise, lively, and often wry and earthy–although always grounded in fact. (One colorful passage begins, “There was one simple explanation for the wildness of river culture: everybody was drunk”). Wicked River does a marvelous job conveying the tumultuous and eclectic history of an American frontier in the nineteenth century. Recommended.
Wicked River is new in hardback this month from Pantheon.
Listen to Tom McCarthy on KCRW’s Bookworm program.
Read our review of Tom McCarthy’s new novel C.
Read our review of Tao Lin’s new novel Richard Yates.
Vodpod videos no longer available.
(Via).
Do you know about the Oedipal complex? That Freudian thing? Of course you do. But if for some reason you don’t, or need a refresher, here’s a quick summary from one of my all time favorite lyricists, David Byrne: “Mom and Pop / They will fuck you up / For sure.” That joyful nugget is from one of the last songs Talking Heads recorded, “Sax and Violins,” a great little piece on modern life that is far more entertaining (and much shorter) than Jonathan Franzen’s over-hyped new novel Freedom.
Freedom works hard to prove that Mom and Pop will fuck you up. Your family will fuck you up. Then you will fuck up your own kids. Franzen’s (boring, oh my god are they boring) characters seem bound to play out repeated variations of the Oedipal complex. Furthermore, according to Freedom, our extra-familial relationships are merely substitutions or recapitulations of our own Oedipal family dramas. Even worse, Franzen seems to suggest in Freedom that all our ideologies, our passions, our beliefs are really just formed by our “morbidly competitive” impulses, impulses born in our fucked-up, Oedipal families. (“Morbidly competitive,” by the way, is Franzen’s term).
The novel centers on one family, the Berglunds, a perfectly normal (in the upper-middle-class-white-educated sense of “perfectly normal”) fucked up family of four. I’m dispassionate about this novel, so I’ll just lazily crib a short summary from a well-written piece I’m largely simpatico with, Ruth Franklin’s review at TNR—
Freedom takes place over a period of about thirty years, but its primary focus is on the George W. Bush era. When it begins, Patty and Walter Berglund, college sweethearts, are among the first wave of urban pioneers putting the gentry back into gentrification, fixing up a house in a blighted area of St. Paul that they will soon populate with their two children. The short preamble offers an overview of their lives from the perspective of their neighbors, from the time they move in as a young couple to their departure around the time the children leave for college. Patty, a former college basketball star who once made “second-team all-American,” is a mother and housewife in the newly popular liberal model: “tall, ponytailed, absurdly young, pushing a stroller past stripped cars and broken beer bottles and barfed-upon old snow. . . . Ahead of her, an afternoon of public radio, the Silver Palate Cookbook, cloth diapers, drywall compound, and latex paint; and then Goodnight Moon, then zinfandel.” She bakes cookies for the neighbors on their birthdays and opens her house to their children. But Patty’s baking and mothering cannot keep her home together: her son Joey, while still in high school, moves out to live down the street with his girlfriend Connie and her family, which happens to include the only Republican on the block. The strain that their child’s defection places on the Berglunds’ marriage is obvious to all. When they leave in the early 2000s for Washington, where Walter has a new job doing something vaguely ominous involving the coal industry, one of the neighbors remarks, “I don’t think they’ve figured out yet how to live.”
This overture sets the stage for the rest of the book, which begins and more or less ends with a ridiculously well-written journal by Patty. Patty (who is somehow a more-than-competent novelist despite having no training) allows the audience to witness her marriage crumbling from her perspective; we are also supposed to sympathize with her because her own childhood was fucked up by her family. Also, she was date-raped, a manipulative detail that adds little to the narrative (I’d call it Nice Writing at its worst). Patty’s seemingly interminable journal eventually gives way to shorter chapters focusing on Joey and Walter. There’s also Patty and Walter’s lifelong friend, ex-punk/would-be indie rock star Richard Katz. Much of the novel revolves around Patty’s desire for Richard and Walter’s desire for Richard (no homo) and Richard’s desire for what he thinks Walter and Patty have and Walter’s desire to be desired by Patty the way that Patty desires Richard and blah blah blah. It’s one big boring circle of “morbidly competitive” Oedipal tension. Franzen spends most of his time expounding on how each character feels about how another character feels about him or her in an endless solipsistic chain that fails to enlighten or even amuse. Too much telling, not enough showing.
Freedom threatens to become interesting when it picks up the Walter narrative. Walter, a die-hard environmentalist oozing oodles of liberal guilt, is hard at work with a bevy of über-Republicans and defense contractors and Texas oil men to save the planet. Via the novel’s ever-present free indirect style, Walter goes to great, finicky pains to explain how working with these creeps will actually, like, save the ecosystem. Hey, doesn’t “eco” come from the Greek “oikos,” meaning “house”? Why yes it does! Must be some kind of parallel there–save the planet, save your house, save your fucked up family . . . Only none of that pans out; instead the section gets bogged down in a cluster of details that mingle with Walter’s increasing attraction (no, deep love and lust) for his twenty-something assistant. Meanwhile, his son Joey is growing up all wrong and fucked up, falling in with neocons who hide their war profiteering in a cloak of patriotic ideology. The democratic freedom we think we cherish is a lie; the personal freedoms we struggle to obtain–by escaping our fucked-up families–is ultimately a damning, soul-devouring curse. The American Dream is just morbid competitiveness.
If Franzen intended to write a zeitgeist novel, a How We Live Now novel, I wonder if this is this really what he thinks the spirit of our age boils down to? He gets many of the details of the last decade right, but the prose is bloodless and the characters are dull, unlikable, and unsympathetic. Of course, real people can be dull, unlikable, and unsympathetic, but that usually means that we don’t want to hang out with them, let alone read about their fears and desires for almost 600 pages. If our own families are dull, at least they are usually likable and sympathetic–at least to us, anyway (I love and like my family, in any case). Freedom feels like a novel with nothing at stake, or, perhaps, a novel where everything has already been lost, where outcomes are drawn null and void from the outset. And really, I wouldn’t mind all of that if it wasn’t so tedious. It practically buckles under its own sense of weighted importance in trying to reveal how Oedipal tension underwrites ideology. Oedipus might have been fated from the get-go, but at least there was some action and excitement in his story–some level of heroism, anyway. And because I’ve brought up Oedipus again, I’ll indulge myself and cite Talking Heads one more time.
In “Once in a Lifetime,” probably the group’s most famous song, Byrne sings, “You may ask yourself / Well, how did I get here?” The song’s narrator wonders if he can escape time, wonders if his suburban confine is a trap or a paradise; there’s a sense of sublime ridiculousness to it all, as if he might transcend time and space and contemporary life and take off “Into the blue again /Into silent water.” He’s trying to navigate the weird gap between suburbia and ecology, between duty and freedom. It is a song that at once recognizes the existential despair of a modern, suburban life, comments on its absurdity, and then surpasses it heroically. The song is undeniably about a figure in crisis, but that figure decides that “Time isn’t holding us / Time isn’t after us.” That figure is freer than the characters in Freedom, and freer still in his weird warp of ambiguity (a warp concretely codified in Byrne’s bizarre dance in the video). The hero of “Once in a Lifetime” transmutes existential absurdity into sound and vision; Oedipus saves his country (and provides the audience with catharsis) via his ironic, tragic self-mutilation; Patty and Walter kiss and make up. It’s a dreadfully facile ending, the worst kind of wish-fulfillment that seems wholly unsupported by the narrative preceding it.
But perhaps this is an unfair way to review a book that is apparently so important–to compare it to Oedipus Rex and a few Talking Heads songs. And I’ll admit that if Freedom had not been so wildly over-praised in the past few months, I’d probably try to find something positive to say about it. So I’ll try: Franzen is deeply intelligent, even wise, and his analysis of the past decade is perhaps brilliant. It’s also incredibly easy to read, but this is mostly because it requires so little thought from the reader. Franzen has done all the thinking for you. The book has a clear vision, a mission even, but it lacks urgency and immediacy; it is flaccid, flabby, overlong. It moans where it should howl. Nevertheless, the book is not a failure, at least not on its own terms. I believe that Franzen has written the book that he intended to write, that he has documented the zeitgeist the way that he perceives it–I just happen to find his analysis dull and his characters irredeemably uninteresting. Do not feel obligated to read Freedom.
Dashiell Hammett’s first published novel, Red Harvest, stars an unnamed dick, but the book isn’t so much a detective novel as it is an exploration of the destruction and renewal of a vice-ridden mining town named Personville. The city boss, who serves “Poisonville” as both mayor and company president, can no longer control the strikebreakers he imported to bust up a prolonged work stoppage. Initially retained by the editor of the daily paper to conduct background research for a developing story, the Continental Op is reluctantly hired by the mayor to return the town to respectability.
Red Harvest is no murder mystery in the Scooby Doo sense because, unlike the Spillane novels reviewed last week, there is no particular villain to unmask. Here, the action unfolds as the Continental Agency operative learns the personal histories of the town’s power players, assesses their motivations, and determines how best to play one set of guns against another. The simple brilliance of this novel is Hammett’s ability to create believable characters in a handful of sentences, and then send them out to wreak mayhem against others. Poisonville is as much a living character as Conan Doyle’s London or Bolaño’s Santa Teresa because it is so central to its citizens’ hopes, frustrations, and fears. The detective apprehends, as bodies multiply, that the town is somehow getting the better of him.
The Continental Op might just be a stand-in for Hammet’s ideal reader. Even though he’s privy to the same information we are, the detective is uniquely able to separate the relevant from the misleading and move the narrative forward. He ingratiates himself with each of the opposing camps in town, analyzes their situations, and dispenses advice to their leaders based upon their own best interests. Although the shakedowns, shootings, and betrayals were probably inevitable, the Op is the catalyst, the omnipotent narrator annihilating and rebuilding alliances. Our detective’s actions lead to more than a dozen deaths, a prison break, riots in the street, blackmail, and his own frame-up for murder.
Rarely do writers trust their lead characters to create, and not merely experience, their own story. I imagine that most characters, and most living human beings, aren’t capable or don’t want to always be in charge, preferring often just to passively accept whatever is foisted upon them. Hammett’s writing in Red Harvest is so precise and inviting that those who pick it up might convince themselves, as they flip backwards twenty pages or so, that they could have played puppet-master just as easily.
At New York Magazine, Charles Burns annotates a page from his excellent new graphic novel X’ed Out. See the slideshow here. A sample–
Yesterday, we linked to an unpublished fragment by David Foster Wallace, and included the original audio from which it was transcribed. The Chief Howling Fantod himself, Nick Maniatis , was kind enough to point out that the fragments have been available for a few years now thanks to the transcription efforts of Matt Hale. You can get the pdf here, but we’ve gone ahead and reproduced our favorite section of the fragments (the audio is great too).
2nd FRAGMENT (Different boy mentioned in this; utterly different boy)
It is this boy who dons the bright-orange bandolier and shepherds the really small ones through the crosswalk outside school. This is after finishing the meals-on-wheels breakfast tour of the hospice downtown, whose administrator lunges to bolt her office door when she hears his cart’s wheels in the hall. He has paid out-of-pocket for the steel whistle and the white gloves held palm-out at cars while children who did not dress themselves cross behind him, some trying to run despite WALK DON’T RUN, the happy faced sandwich board he also made himself. The autos whose drivers he knows he waves at and gives an extra-big smile and tosses some words of good cheer as the crosswalk clears and the cars peel out and move through, some joshing around a little by swerving to miss him only by inches as he laughs and dances aside and makes faces of pretended terror at the flank and rear bumper. The one time that station wagon didn’t miss him really was an accident and he sent the lady several notes to make absolutely sure she knew he understood that and asked a whole lot of people he hadn’t yet gotten the opportunity to make friends with to sign his cast and decorated the crutches very carefully with bits of colored ribbon and tinsel and adhesive sparkles and even before the six weeks the doctor sternly prescribed, he’d given them away to the children’s wing to brighten up some other less lucky and happy kid’s convalescence and by the end of the whole thing he’d been inspired to write a very long theme to enter into the annual Social Studies theme competition about how a positive attitude can make even an accidental injury into an occasion for new friends and bright new opportunities for reaching out to others and while the theme didn’t even get honorable mention he honestly didn’t care because he felt like writing the theme had been its own reward and he’d gotten a lot out of the whole nine-draft process and was honestly happy for the kids whose themes did win awards and told them he was 100-plus percent sure they deserved it and that if they wanted to preserve their prize themes and maybe even make displayed items out of them for their parents, he’d be happy to type them up and laminate them and even fix any spelling errors he found if they’d like him to and at home his father puts his hand on Leonard’s shoulder and says he’s really proud that his son’s such a good sport and offers to take him to Dairy Queen as a kind of reward and Leonard tells his father he’s grateful and that the gesture means a lot to him but that in all honesty he’d like it even more if they took the money his father would have spent on the ice-cream and instead donated it either to Easter Seals or, better yet, to UNICEF to go toward the needs of famine-ravaged Biafran kids who he knew for a fact had probably never even heard of ice cream and says that he bets it’ll end up giving both of them a better feeling even then the DQ would and as the father slips the coins in the coin-slot at the special bright-orange UNICEF volunteer cardboard pumpkin bank, Leonard takes a moment to express concern about the father’s facial tick again and to gently rib him about his reluctance to go in and have the family’s MD look at it, noting again that according to the chart on the back of his bedroom door the father is four months overdue for his annual physical and that it’s almost eight months past the date of his recommended tetanus and T.B. boosters. He serves as hall monitor for period’s one and two but gives far more official warnings than actual citations. He’s there to serve he feels, not run people down. Usually with the official warnings he dispenses a smile and tells them you’re young exactly once so enjoy it and to go get-out here and make this day count why don’t they. Heroes UNICEF and Easter Seals and starts a recycling program in three straight grades. He is healthy and scrubbed and always groomed just well enough to project basic courtesy and respect for the community of which he is a part and he politely raises his hand in class for every question, but only if he’s sure he knows not only the correct answer but the formulation of that answer that the teacher’s looking for that will help advance the discussion of the overall topic they’re covering that day, often staying after class to double-check with the teacher that his take on her general objectives is sound and to ask whether there was any way that his answers could have been better or more helpful. The boy’s mom has a terrible accident while cleaning the oven and is rushed to the hospital and even though he’s beside himself with concern and says constant prayers former safety, he volunteers to stay home and field calls and relay information to an alphabetized list of concerned family friends and relatives and to make sure the mail and newspaper are brought in and to keep the home’s lights turned on and off in a random sequence at night as officer Chuck of the Michigan State police’s Crime Stoppers public school outreach program sensibly advises when grown-ups are suddenly called away from home and also to call the gas company’s emergency number, which he has memorized, to come check on what may well be a defective valve or circuit in the oven before anyone else in the family is exposed to risk of accidental harm and also, in secret, to work on massive display of bunting and penance and Welcome Homeland World’s Greatest Mom signs which he plans to use the garage’s extendible aluminum ladder—with a responsible neighborhood adult holding it and supervising—to very carefully affix to the front of the home with water-soluble glue so they’ll be there to greet the mom when she’s released from the I.C.U. with a totally clean bill of health which Leonard calls his father repeatedly at the I.C.U. payphone to assure the father that he has absolutely no doubt of (the totally clean bill of health), calling hourly, right on the dot, until there is some kind of mechanical problem with the payphone and when he dials it he just gets a high tone which he duly reports to the telephone company’s new automated 1618 Trouble Line. He can do several kinds of calligraphy and has been to origami camp twice and can do extraordinary free-hand sketches of local flora with either hand and can whistle all six of Telemann’s Nouveaux Equators and can imitate any birdcall Autobahn could even ever have thought of, don’t even mention spelling bees. He can make over twenty different kinds of admiral, cowboy, clerical and multi-ethnic hats out of ordinary newspaper and he volunteers to visit the school’s K-through-2nd classrooms teaching the little kids how, a proposal the Carl P. Robinson Elementary principal says he appreciates and has considered very carefully before turning down. The principle loathes the mere sight of the boy but does not quite know why. He sees the boy in his sleep, at nightmares’ ragged edges; the pressed checked shirt and hair’s hard little part, the freckles and ready, generous smile; anything he can do. The principle fantasizes about sinking a meat hook into Leonard Steel’s bright-eyed little face and dragging the boy face down behind his Volkswagen Beetle over the rough new streets of suburban Grand Rapids. The fantasies come out of nowhere and horrify the principal, who is a devout Mennonite. Everyone hates the boy. It is a complex hatred that makes the hater feel guilty and awful and to hate themselves for feeling this way and so makes they involuntarily hate the boy even more for arousing such self-hatred. The whole thing is totally confusing and upsetting. People take a lot of Aspirin when he’s around. The boy’s only real friends among kids are the damaged, the handicapped, the slow, the clinically fat, the last-picked, the non-grata. He seeks them out. All 316 invitations to his eleventh birthday Blow-Out Bash—322 invitations if you count the ones made on audiotape for the blind—are off, sent printed on quality velum with matching high-rag envelopes addressed in ornate Philippian calligraphy he spent three weekends on and each invitation details in Roman Numerated outline-form the itinerary’s half-day at Six Flags, private Ph.D.-guided tour of the Blanford Nature Center and reserved banquette-area-with-free-play at Shakey’s Pizza & Indoor Arcade on Remembrance Drive, the whole day gratis and paid-for out of the paper and aluminum drives the boy got up at 4 a.m. all summer to organize and spearhead, the balance of the drive’s receipts going to the Red Cross and the parents of a Kentwood, MI third-grader with terminal spina bifida who dreams above all-else of seeing Landry and Greer and ‘Night Train’ Lane live from his motorized wheelchair and the invitations explicitly call the party this: A Blow-Out Bash in balloon-shaped font as the caption to an illustrated explosion of good cheer and good will and no-holds-barred, let-out-all-the-stops fun with the bold-faced proviso: Please, no presents required in each of each card’s four corners and the 316 invitations—sent via first-class mail to every student, instructor, substitute, aid, administrator, custodian and physical plant employee at C. P. Robinson Elementary—yield a total attendance of nine celebrants, not counting parents and L.P.N.s of the incapacitated, and yet an undauntedly fine time was had by all was the consensus on the Honest Appraisal and Suggestion cards circulated at party’s end. The massive remainders of chocolate cake, Neapolitan ice cream, pizza, chips, caramel corn, Hershey’s kisses, United Way and Officer Chuck pamphlets on organ tissue donation and the correct procedures to follow if approached by a stranger respectively, kosher pizza for the Orthodox, biodegradable napkins and dietetic soda in souvenir Survived Leonard Steel’s Eleventh Birthday Blow-Out Bash, 1964 plastic glasses with built-in crazy-straws the guests were to keep as mementos all donated to the Kent County Children’s Home via procedures and transport that the birthday-boy had initiated even while the big Twister free-for-all was underway, out of concerns about melted ice cream and staleness and flatness and the waste of a chance to help the less blessed and his father, driving the wood-paneled station wagon and steadying his cheek with one hand, avowed again that the boy beside him had a large, good heart and that he was proud and that if the boy’s mother ever regained consciousness as they so very much hoped, he knew she’d be just awful proud as well.
Read an unpublished fragment of a story (or novel?) by David Foster Wallace at 454 W 23rd St New York, NY 10011-2157 (uh, that’s a blog, not, like, an actual physical address (although I guess it could be an actual physical address to. But, you don’t have to go there to read the story. Just click on the link. You know how the internet works, don’t you?)). Not sure who actually transcribed the piece (maybe the folks at 454?), but die-hard DFW fans will likely have heard the author read it himself. If you want to hear it, download it here (it also includes a hilarious reading (also unpublished) about a perfect boy who everyone hates). Here’s the first paragraph of the audio transcription–
Every whole person has ambitions, projects, objectives. This particular boy’s objective was to press his lips to every square inch of his own body. His arms to the shoulders and most of the legs beneath the knee were child’s play but after these areas of his body, the difficulty increased with the abruptness of a coastal shelf. The boy came to understand that unimaginable challenges lay ahead of him. He was six.
Biblioklept 