“It is what you read when you don’t have to that determines what you will be when you can’t help it.” – Oscar Wilde
This is a stack of books. There are lots of these at my house. (image courtesy freedigitalphotos.net)
(For previous posts in this series look here, here, and here.)
After several threats to do so, I finally take a bit of time to update the 2014 reading list. Several elements have played into the list expanding well beyond its original limits: new friendships with publishers who asked me to review books, interesting finds at used book stores, decisions to read books so I’d know a little better what I was talking about when I castigated their authors.
So here we go. This, I hope, will catch up the 2014 reading list. Anything else that swims into view will go on the 2015 reading list. (I offer links for books that I have already written essays about.) Continue reading →
There’s been some back and forth here in the last couple of weeks about Ello, the new social network. If you’re on Ello, or are thinking of joining, here are some people you might want to investigate and possibly follow.
Let’s start with the S&R folks. @docdenny is, as you know, god of macro photography, and lately he’s been experimenting with some new toys and techniques that visually bridge the space between photography and painting.
Shelby Foote’s tale of upper class Southerners behaving badly is redolent with that peculiarly disturbing characteristic called “Southernness…”
Love in a Dry Season by Shelby Foote (image courtesy Goodreads)
Let me me do what any good Southerner would do when asked for an explanation – tell you a story…
When I was writing the original draft of my novel The New Southern Gentleman, I had the ear (and the somewhat bemused interest) of a New York editor who was, I remember, working at that time for Henry Holt. He read a good chunk of the manuscript and recommended that I contact a writer friend of his, a fellow by the name of Walker Percy, even going so far as to send me Percy’s home address. I wrote to that estimable personage, author of a work I found influential, The Last Gentleman, and therefrom ensued a somewhat brief but memorable correspondence. One suggestion that Percy made I ignored – not out of disdain for the advice, which was excellent I now know, but out of what we might call “the anxiety of influence.” After reading several chapters of my manuscript, he recommended that I read “my friend Shelby’s book Love in a Dry Season.” (For those of you who don’t know, Walker Percy and Shelby Foote were best friends for 60 years.)
It was a sin of omission I have now corrected. My apologies, Mr. Percy, for delaying so long in taking your insightful advice. Love in a Dry Season is a marvelous novel, not just for its ability to compel you to read a novel about people you don’t much like, but, too, for its inherent grasp of how to convey what being Southern means.
Almost forgotten as a writer now, Ben Ames Williams’s novels and stories represent the most interesting of American literary legacies – market driven art….
The Strange Woman by Ben Ames Williams (image courtesy Goodreads)
This essay concerns one of the novels of Ben Ames Williams. If you’re asking yourself “Who?” be assured that you’re not alone. A very successful “popular fiction” writer of the first half of the 20th century, Williams is almost forgotten now. The novel we’ll be discussing shortly is called The Strange Woman and was published when Williams was at the height of his popularity. The novel itself is…okay. The writer who produced it is fascinating as an example of a writer who made his creative decisions with a watchful eye to the market and whose oeuvre, as a result reflects that watchfulness – and whose literary reputation also reflects that watchfulness.
Handke, Austria’s (arguably the world’s) greatest living writer, will probably never get the Nobel…and maybe he shouldn’t…or should…
Peter Handke (image courtesy Wikimedia)
For some readers of this piece, the name Peter Handke will probably suggest only controversy. Handke has spent the last two decades of his life under attack for his association with – and inexplicable defense of – the Serbian government of Slobodan Milosevic. No less a personage than fellow Nobelist-in-waiting Salman Rushdie has called Handke a propagandist for the Milosevic government’s genocidal policies. When Handke received the International Ibsen Award earlier this year, Pen Norway called for the selection jury’s resignation and one scholar called giving Handke the award the equivalent of giving the Immanuel Kant Prize to Joseph Goebbels. Other important literary figures have defended Handke stating that he deserves the Nobel Prize – one claiming that she received the prize when Handke was the more worthy recipient.
All this comes as no surprise – troubling though it is – to me. I’ve been an admirer of Handke’s work since I was introduced to him in undergraduate school. What grabbed me initially was his “anti-play” Offending the Audience. Continue reading →
An interesting olio of tales, vignettes, and short stories with poetry used as a gloss…Kelley’s collection offers nods to Faulkner, Capote, O’Connor, and other Southern legends….
The Day the Mirror Cried by Saundra Kelley (image courtesy Goodreads)
Saundra Kelley’s new book The Day the Mirror Cried reflects a couple of facets of her professional life. Kelley is a professional storyteller, a member of the Storytellers’ Guild, based in one of the capitals of that oral art form, Jonesborough, Tennessee. But Kelley also has a student of literature, and this work, a rambling collection of what she calls “reflections,” “odd memories,” and “ruminations,” shows that while she has a deep understanding of the folkloric character of storytelling, she also has a deep appreciation of great writing. The Day the Mirror Cried is laced with allusions to the work of great Southern writers even as it offers its own fascinating insights into the culture of native Floridians.
Unlike the typical story collection which often progresses towards a key centerpiece work that gives the collection its name, Kelley begins with the piece that gives her work its title. “The Day the Mirror Cried” will remind readers of one of Faulkner’s most widely known stories, “A Rose for Emily,” and Kelley does a fine job of nodding to the great Mississippian while keeping true to her own tale. This story, which opens the first section of The Day the Mirror Cried, sets up some of the other nods to Southern Gothic tale telling that appear with it such as “The Ship’s Lantern” and “Laugh at the Moon No More.” One other story, “Emerald Forest,” is affecting in the same way as a Truman Capote tale: what begins as curiosity ends up in a sinister situation, changed in Kelley’s story by the intercession of a protective relative (and here the story echoes the fairy tale of Little Red Riding Hood with the main character’s brother acting the role of the woodsman). Continue reading →
Literary Luxuries by Joe David Bellamy (image courtesy University of Missouri Press)
This essay in the series of essays on Joe David Bellamy’s assessment of American writing ventures into territory that may be irrelevant by the time I finish this. In this section of Literary Luxuries: American Writing at the End of the Millennium, Bellamy tackles a problem that is solving itself – although not in a way that Bellamy, or anyone in academia or creative writing expected at the time of this book’s appearance in 1995.
The section containing Bellamy’s dispute with the structure of English departments and their contentious relationships with creative writing programs is called “Literary Education.” In a pair of essays called “The Theory of Creative Writing I: Keeping the Frog Alive” and “The Theory of Creative Writing II: the Uses of the Imagination and the Revenge of the Pink Typewriter” Bellamy discusses the two main issues that plagued relations between English departments and creative writing programs: the rise of literary theorists and their increasingly esoteric and irrelevant (to the teaching of English, particularly thinking and writing, anyway) specializations, and the emphasis on analytical/critical approaches to all learning that permeate academic instruction.
As I age, what I read and why has changed markedly over time
If you’re a reader, you probably have a list of “fave” books. Or of books you found “influential.” Or of books you liked because each told “a good story.” Or maybe because the books were filled with vampires and such.
I’m surrounded by book listers. I lurk on a listserv of really bright people, and one of the topics du jour is “what’s your book list.” (Thanks to them, I’ve picked up several to add to my own list.)
Jim Booth, one of my fellow co-founders of Scholars & Rogues, compiles a list of books each year and reviews them here. (He’s done more than 50 reviews this year alone.) A faculty colleague has from time to time posted outside his office a list of “books I spent time with this summer.”
I never thought much about book lists.
Then the Time of My Great Disenchantment with Mega-Corporate-Run Journalism began to descend on me about seven years ago. I realized that the grist of daily journalism no longer dealt at length or in depth with the gnawing questions I need answered:
How does the world work? Why does it work that way? What are the consequences of the answers to the first two questions?
What Joe David Bellamy calls “super fiction” may well have led us to the superfluous…
Literary Luxuries by Joe David Bellamy (image courtesy University of Missouri Press)
(For previous essays in this series, look here, here and here.)
After a week away, we return to Joe David Bellamy’s Literary Luxuries: American Writing at the End of the Millennium. This will likely be the most interesting – and perhaps controversial – essay in this series because of Bellamy’s subject matter. The section of the book from which the Bellamy pieces to be discussed is called “Literary Meteorology,” and the subject matter is part and parcel of the argument that raged throughout the 20th century not just in literary circles but in other areas of what used to be known as “high art” – visual art and “serious” music: how far can artists (of all types) go in terms of experimentation with style and subject matter before they “lose” their audiences and end up “creating” only for themselves – and some precious few critics who value difficulty in ascertaining meaning as the highest hallmark of artistic achievement.
There are three essays in this section of Literary Luxuries, the first two of which deserve the most attention. Continue reading →
Jansson’s brilliance is her understanding that the world of childhood and the world of adulthood are separated by the thinnest of distances – sort of an “It’s just a jump to the left” thing….
The Summer Book by Tove Jansson (image courtesy Goodreads)
Once again my fellow “mad for reading” sort Wufnik got to me.
Wuf wrote an intriguing piece about the Finnish writer Tove Jansson, she of “Moomins” fame, who also had a significant career as a writer of works for adults. I was vaguely familiar with the Moomin books (terrific stuff for children and adults smart enough to realize that kids like the best stuff), but I had no experience with – actually, knowledge of – her work for adults. So after reading Wufink’s essay on the dreamlike, magical memoir Sculptor’s Daughter, I expanded my 2014 reading list yet again (I have got to do a post to share the added works I’ve been reading) to add one of Jansson’s works. My choice was one of Jansson’s earliest forays into adult fiction, the in-its-own-right dreamlike and magical (magical and dreamlike aren’t fair terms to use for Jansson, for she has those qualities in ways that make other writers see uncomfortably pedestrian – in fact, what she does probably should have resulted in the coinage of its own term – Janssonesque) work, The Summer Book.
The Summer Book is a work of fiction – to call it a novel would not be accurate, nor would calling it a short story collection be correct in any strict sense. The term vignette is most apropos, probably, but that implies a fleeting quality to each of the 22 brief – tales. Tales is a good term, one that links Jansson to the writer I know most akin to her in storytelling – Isak Dinesen (Karen Blixen), the great Danish tale teller. While their subject matter is radically different, the spellbinding charm of the two writers as storytellers is such that reading one will remind one of the other. Continue reading →
The essay is really about two issues – issues that relate to the politics behind literary fiction and its outlets and the politics surrounding the relationship between creative writing programs and English departments. Bellamy’s essay is worth a look because it reminds us of the evolution of English departments, the rise of creative writing programs, the role of “little” or literary magazines in the move of serious literary work (both fiction and poetry) out of the mainstream, and how the Internet has allowed a renaissance of sorts for literary magazines many of whom were almost done in by publishing costs before the Web came along to save them (and allow the rise of many new journals including the one here at Scholars and Rogues). Continue reading →
American literary fiction over the last 50 years has been, it seems, in a struggle to find an audience…
Literary Luxuries: American Writing at the End of the Millennium by Joe David Bellamy (image courtesy University of Missouri Press)
Another book from the 2014 reading list composed of essays. This one, Literary Luxuries: American Writing at the End of the Millenium, is a collection of essays by writer, writing teacher, and litfic cheerleader Joe David Bellamy. Since this is a book of essays that range over a number of issues confronting the literary community, it seems logical to look at Bellamy’s book in sections. So, as I’ve done with a book of scholarly essays on popular music as protest, I’ll be looking at this work over a number of weeks. This will allow me to share Bellamy’s wide ranging discussions of issues such as of support for the arts (particularly literature), writers’ conferences, creative writing programs, and styles of literary fiction.
Bellamy has a lot to say about each of these areas (and others) and his opinions are – interesting might be the best word. I agree with some of his assessment of the state of litfic, some of it I would say probably needs updating, and some of it smacks of his personal biases. That last is not necessarily a bad thing – except when he resorts to trying to make literature style an object of political analysis. Continue reading →