→ November 16, 2012
→ By

The Recognitions.

“Thank God there was the gold to forge!”

I finished William Gaddis’ 953-page novel The Recognitions for three main reasons:

  1. It’s on the TIME 100, which I am trying to finish. (Just three left!)
  2. Two people whose opinions I respect, Will Leitch and Michael Schur, both recommended it highly.
  3. I am stubborn.

So I pushed through it over the course of about three weeks, using the online annotations and chapter synopses to get me through. I could be facile about it and say that the book went largely over my head, but that would avoid responsibility – the truth is that I didn’t read slowly or carefully enough to grasp every nuance and every reference, because that’s just not how I enjoy reading. This is a book to be studied and pondered; even when I read literature, or other difficult works, though, I still read for pleasure, and appreciating the brilliance of The Recognitions – for it is brilliant – requires more work than I was willing to put into it.

Several people asked me over the last few weeks what The Recognitions is about, but the question has no single answer. There is a main character, but his narrative is jumbled with many subplots and he often is the vehicle for other stories or themes beyond his own quest for identity. That character, known as Wyatt when the novel begins, is the son of a Protestant minister and intends to take orders but ends up pursuing a career in drafting and copying architectural drawings that devolves into a vocation as an expert forger of paintings, notably works by Dutch masters. Wyatt’s quest leads to Gaddis dropping his name entirely before the novel is halfway through; he doesn’t obtain a new name of any sort until the final hundred pages or so, when he’s dubbed Stephan because that’s the name on his new, fake Swiss passport. Wyatt’s father, meanwhile, descends into madness while increasingly confusing his Christian faith with its onetime competitor, Mithraism, eventually dying one of the first of the book’s many bizarre, seriocomic demises.

As for the rest of the characters and subplots … Wyatt marries a woman named Esther, then abandons her as he loses his sense of identity, only for her to hook up with a confused writer named Otto who spends much of the novel walking around with a sling for an injury he never sustained. She also ends up having an affair with Ellery, who works in advertising with Benny, who previously worked with Wyatt in the drafting business. Wyatt’s forgery business involves him with the art critic-alchemist-spy Basil Valentine, and the odious collector and smuggler and scatologically-named Recktall Brown, who eventually dies while showing off a centuries-old suit of armor he owns by wearing it, only to have it noticed after his death that a portion of the armor is fake. Otto’s group of acquaintances also includes his college classmate Ed Feasley (who always says “Chr-ahst”), the poet Max, the failed poet Feddle, the frail Esme, the anguished Catholic Stanley, the irascible poet Anselm, the magazine editor Don Bildow (always in the midst of a sexual misadventure), an unnamed art critic in a green shirt, the closeted gay man Arny Munk and his baby-stealing wife Maude, and even “Willie,” the author himself in print – a laundry list of caricatures and pathetic figures swapping drinks and beds while living circular lives without apparent direction or meaning, often losing their identities by pretending to be something they’er not or by selling their souls for material gain.

The twin themes of self-doubt (identity) and forgery (fraud) are about the only things tying the entire novel together, other than the glue in the binding. Wyatt spends the entire novel on a quest for an identity, first losing one and then searching for another. He has one in childhood, imprinted on him by a domineering, puritanical aunt and a befuddled, widowed father, but sheds it when he realizes it’s merely a covering placed on him by external forces. His drift into a forger’s lifestyle leads him into his own madness, mirroring his father’s, because he’s replaced a lost identity with one tied entirely to fakes, leading him to doubt the possibility of any kind of authentic life or meaning in the world. He sees originality as an irreducible equation – everything is a copy of something else, and often the ‘experts’ in a field can’t distinguish the real thing from a perfect forgery. He ends by scraping down a fresco to get to the stone underneath, the one original part that can’t be copied, at least not by man.

The secondary characters, as a group, nearly all collapse in search of false identities or meanings. Most attempt to find them through money, with one character proclaiming it the “Age of Advertising” (which, in the ontology of The Recognitions, is a falsehood wearing another falsehood), while others giving up their bodies, their gods, or their countries for want of a little more cash. Several characters struggle with religious conflicts and doubts, ranging from the obsessive Catholic Stanley (whose death might be the most comic, even with the heavy-handed metaphor involved) to the seemingly anti-Catholic Anselm (who purifies himself in grotesque manner, then becomes a publicity man for a monastery). Otto is supposed to meet his father for the first time, but ends up in a meeting with a counterfeiter where both men mistake the other’s identity, after which Otto leaves with $5,000 in fake bills, which leads to him fleeing the country and assuming a new identity (and acquiring a real reason to wear a sling) to avoid prosecution. The one point all of these side characters have in common is that their quests, conscious or otherwise, for identity and meaning come to naught, with the possible exception of the writer Ludy, who may (it’s deliberately left unclear) actually find meaning in religion because he wasn’t explicitly looking for it.

I think the greatest value I found in The Recognitions was validation of my decision to similarly force myself through Ulysses several years ago, because I have no doubt that this is Gaddis’ response to Joyce’s work. Wyatt’s new name of Stephan, alludes to Joyce’s alter ego Stephen, while the lengthy epilogue harkens in form and style to Molly Bloom’s rambling soliloquy. The book has nearly as many references as Joyce’s did, and similarly pushes the boundaries of language, utilizing sentences or passages in at least six beyond English. Both novels rely on humor of various stripes, including black humor, bathroom/bedroom humor, and the occasional bit of slapstick to advance the story and keep things from becoming too dense or philosophical – not that I’d say I actively enjoyed the experience, but there were certainly parts of The Recognitions, and Ulysses, that had me laughing out loud.

But Gaddis’ work is, undeniably, an arduous experience for the reader. He dispenses with quotation marks, setting off dialogue with a – instead. Speakers are often left unidentified, and Wyatt goes nameless for about 700 pages. The allusions are fast and thick and often quite obscure, beyond the usual Bible-and-Shakespeare stuff present in most literature of this ilk. The anfractuous plot left me reliant on the chapter synopses online to figure out who was doing what and where. Gaddis even introduces half of a joke on page 66, about Carruthers and his horse, referring to it again a few times throughout the novel, delivering the punch line on page 941. I can respect the cleverness of the gambit while also being highly irritated by the assumption that I was sufficiently focused and reading the book quickly enough to remember the joke when the payoff – not even that funny – finally came. And that’s The Recognitions in a nutshell for me: Brilliant, clever, insightful, but too damn much work.

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→ October 31, 2012
→ By

A Visit from the Goon Squad.

Jennifer Egan’s A Visit from the Goon Squad, winner of the 2011 Pulitzer Prize for Fiction (and the incumbent title-holder, since the Board decided that every book published in 2012 sucked and declined to give the award to anyone), is a hybrid novel/short story collection, weaving long vignettes involving a small group of interconnected characters together across time to track, backwards and forwards, their rises, falls, and sometimes rises again. The results are often funny and occasionally tragic, but the writing and characterization are so compelling that when Egan punts the entire thing in the final two sections it is an enormous disappointment.

The book doesn’t have a single protagonist, but we do see several of the core characters in multiple stories, including Sasha, the charismatic, troubled young woman with an unexplained penchant for stealing, one that doesn’t even fully abate when she’s confronted with the consequences of one of her thefts. She works for the unctuous Benny Salazar, a record executive whose fortunes ebb and flow with popular tastes, and whose own history includes a stint in a punk band where many of the novel’s central relationships began. He’s a bit of a wacko magnet, like the former bandmate of his who shows up at Benny’s office one day bearing a freshly-caught fish, or the snobby neighbors in the suburb where he moves with his young, self-conscious wife, looking down on the nouveau-riche Hispanic guy in the neighborhood – who might be a terrorist, because, well, you know. The spectre of 9/11 hangs over many of the stories set in the few years after its aftermath, with the majority of the novel happening in spitting distance of New York City.

The novel’s unconventional structure, with a nonlinear narrative and changing perspectives, gives Egan some room to stretch out and show off her writing skills, which she does well for most of the book. One section comprises a magazine feature, presumably unpublished, written by the brother of one of the major characters, an account of a celebrity puff piece gone so wrong that he ends up in jail (with cause) and the celebrity’s career ends up so derailed that she eventually finds herself paid to be the consort of a murderous third-world dictator, one of the funniest sections of the book, even more timely with the Arab Spring occurring after the novel’s publciation. Sasha runs away from home as a teenager, and one section has her feckless uncle trying to find her in Naples to coax her to come home. The changing styles shift our views of characters, peeling back layers while also turning the onion to show us as much as possible in such a short space.

The last two sections destroyed the book for me, unfortunately. The first of the two is a ninety-page slideshow – excuse me, slidshow – written the daughter of one of those recurring characters, describing their family dynamic and the slightly depressing future in which they live. It’s gimmicky and superficial, losing the depth and most of the wit of the previous sections. The final story is set in a dystopian future a few decades from now, with Egan embarrassing herself trying to craft her own texting vernacular, and where interpersonal skills have broken down the point that people standing next to each other communicate via their devices. It wasn’t funny enough to be a parody and it was a lousy way to send off some great characters.

Next up: I’m past the one-quarter mark in William Gaddis’ mammoth novel The Recognitions. I’m hoping to finish before Thanksgiving week.

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→ October 22, 2012
→ By

A Thousand Acres.

I’ve got a new post up today on the Young-Bell-Pennington trade.

Jane Smiley won the 1991 Pulitzer Prize for the Novel with A Thousand Acres, her adaptation of Shakespeare’s tragedy King Lear, hewing fairly close to the original storyline aside from the typical Shakespeare tragic ending where everyone dies, often in a single pile on a battlefield or in a great hall. A Thousand Acres takes us to an Iowa farm near the end of the boom in land values in the 1970s, where a domineering, impetuous farmer named Larry Cook decides to divide his thousand-acre farm among his three daughters, a process that also begins to divide the family and presages his mental breakdown, much as Lear himself went mad after dividing his kingdom among his daughters.

Following Big Willie’s original plot, Smiley has Cook’s youngest daughter, Caroline (Cordelia in King Lear) lose her inheritance, here for the most innocuous of comments, spurring a severe estrangement between her and her father as well as between her and her two sisters, the narrator Ginny (Goneril) and the more devious middle child Rose (Regan). Ginny points to the tiff between Larry and Caroline as the beginning of the end of their family, perhaps ignoring larger environmental factors like the impending bust in land values and changes in American agriculture, as well as the lack of any male heirs to Larry’s estate who would run and work the farm. Those factors along with Larry’s decline into madness – at first merely bouts of anger and irrational behavior, but later near-complete dementia – increase the strain on Ginny, her husband Ty, Rose, and her wayward husband Pete, with Rose and Pete’s two daughters mostly inured from the family strife until Pete’s demons resurface closer to the story’s end.

Smiley’s characterizations are by far the greatest strength of the novel, since the plot is not original nor was she likely to improve on our language’s greatest storyteller. Ginny and Rose are richly described and presented with great complexity, enough that the mid-story revelation that both were sexually abused by their father doesn’t add as much to their characters as such a background detail might ordinarily contribute. Jess Clark, paralleling Edmund, is recast as the sensitve, brooding stranger whose sexual magnetism draws in both women (and, one presumes, others unseen) despite his clear emotional unavailability. Caroline even earns her share of depth despite spending so much of the novel off-screen; Smiley even hints that she might be Rose’s daughter by Larry, a fascinating (if replusive) plot detail that could explain some of Caroline’s and Rose’s actions towards their father. Only Larry comes up short in Smiley’s character development; he’s an ass from the start, a cranky, misogynistic old fool who is later revealed to be depraved, manipulative, and evil, and from whom none of his daughters can completely break free, even after his death.

Smiley’s adherence to Shakespeare’s plot led her severely astray, however, when she mimicked Goneril’s attempt to poison her sister Regan; Goneril was successul, but Ginny, as she is presented to us, seems totally incapable of such a bold act of violence or jealousy. She is broken, emotionally, and bears some anger toward her sister, but her ultimate target is her father, by that point unreachable by vengeance. An attempt to kill her father, even as a means of closure for herself without the element of revenge, would have fit her character more completely. The idea that she hates Rose enough to kill her for stealing Jess is not adequately supported by her thoughts or actions, and the very sudden shift in her character to someone capable of premeditated murder is not dramatic, but sloppy.

That selective paralleling of King Lear pushes Smiley into a corner where the book, readable and compelling for about two-thirds of its length, starts to come apart, because she’s rewriting someone else’s story with her own characters and has to force them (when she wants) to act in ways not entirely in keeping with their given natures. By the time Ginny wants to kill her sister, she has been presented to us as someone incapable of such an act. When we learn that Larry raped his daughters (an original element not in Shakespeare), he becomes so odious that we are unable to muster sympathy for him in later scenes where his broken mental and physical conditions might otherwise make him sympathetic, or even pathetic, instead of vile and sickening. The lack of balance pushes the reader to Ginny’s side (and Rose’s, to a lesser degree), only to have Ginny revealed as a sociopath who’d murder her own sister. Had the binding come apart in my hands, the book wouldn’t have fallen apart any more completely than it did in its content.

Next up: I read Allison Hoover Bartlett’s quirky non-fiction story The Man Who Loved Books Too Much: The True Story of a Thief, a Detective, and a World of Literary Obsession (on sale for $6 through that link) and have begin Jennifer Egan’s novel A Visit from the Goon Squad, which won the Pulitzer Prize for Fiction in 2011.

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→ October 5, 2012
→ By

White Noise.

I wrote a column on Thursday ranking the top ten starters on this year’s playoff rosters, and also did my usual weekly Klawchat, although the next one may not be for two or three weeks.

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Don DeLillo’s White Noise – part of the TIME 100 and #82 on the Radcliffe Course’s top 100 – blends the science fiction-tinged paranoia of Philip K. Dick and the bleak views of postwar suburban families from novels like Revolutionary Road while foreshadowing the hysterical realism of Zadie Smith and the more recent A Naked Singularity, which I reviewed a few weeks ago. It’s a very dark, often morbidly depressing look at runaway consumerism, overreliance on pharmaceuticals, fear of death in a world of declining religiosity, and the vacuous, sterile nature of life in the American exurbs. It’s also often very funny, with a distinctive narrative voice that often jumps off the page, although DeLillo couldn’t quite maintain that macabre exuberance for the novel’s full length.

Jack Gladney is a professor of Hitler studies at a fictional midwestern University and lives with his fourth wife, Babette, and their gaggle of kids from previous marriages, all of whom but one are beyond precocious, developed (by pharmaceuticals? by environmental toxins?) into odd stages of emotional maturity even before reaching their teens. Jack and Babette both live comfortable but morally and emotionally aimless lives, talking at length about their terror of death, which becomes much more tangible to them when a nearby chemical spill spawns an “airborne toxic event” that gives Jack a slightly grim medical prognosis while setting him and Babette at odds over her own use of an experimental mood-altering medication.

While every description I’ve found of White Noise dwells on the central characters’ shared fear of death, that’s just one of several themes in the novel and, for me at least, it’s almost a cover story for the more pressing anti-consumerist sentiment that pulsates just below the novel’s surface from start to finish. Repeated scenes of characters all lost in the supermarket lead to casual descriptions of emotional satisfaction from large purchases, from a car full of consumer goods, from recognition of familiar mass-market brands, from the mere participation in the economy of commodities. DeLillo indicts American consumer culture by depicting real-but-too-real postnuclear American family whose members can’t relate to each other without the bond of household goods. I thought the occasional interpolations of three major brands, one after another – “Tegrin, Denorex, Selsen Blue” – almost pedantic, as if DeLillo didn’t realize his focus on the Gladneys was sufficient for a guilty verdict.

The fear of death theme covered familiar ground as well, something explored in many novels over the past century as the role of religion has diminished in many developed nations, whether through a decline in general religiosity or an increase in nonbelievers. White Noise particularly reminded me of a novel I hated, Tom Robbins’ fantasy Jitterbug Perfume, which eventually makes no argument stronger than that we can’t be sure what follows death, so we might as well enjoy and extend life as much as we can. I didn’t really need Robbins to tell me that, and I don’t need DeLillo too, either.

That theme actually works better when it underpins the novel’s second, slower-burning subject, our reliance on pharmaceuticals to solve our problems and/or improve our lives – better living through biochemistry, in a way. Earlier in the novel, characters casually mention use of prescription drugs, but the chase for one drug in particular (minor spoiler) that is designed to suppress our natural horror of our own mortality comes to occupy the third of three sections of the book, as Jack realizes Babette is taking it but for reasons unknown won’t discuss it with him. (Of course, it’s one of their precocious kids, Denise, aged nine going on twenty, who finds the bottle and figures out something’s amiss.)

From the point of discovery and confrontation, however, DeLillo goes off the rails in both plot and theme, as if he knew he’d hit on something powerful but couldn’t figure out how to wrap up the story in a manner consistent with his character development and greater intentions for the novel. Jack is somewhere between a desperate man and an enraged husband but not really enough of either to be credible, and by this point in the book, the lack of depth to all of the side characters, including their kids, and to previously significant details like Jack’s choice of academic subjects becomes glaring. What might have built up into a great crescendo sputters into an unsatisfying conclusion. It’s a rare case of a book being too short, where most other books in the hysterical realism realm, both before and after White Noise, came in much longer so that their twisted, layered versions of reality have more time to vest. If the first section stood alone as a novella, it would feel a little incomplete, but could stand on its own for its creativity and manic vision, a lot like Philip K. Dick’s more serious works. Unfortunately, DeLillo stopped in the no-man’s land between that and the more ambitious works I referenced earlier.

Anyway, that leaves me with just four more books on the TIME 100, but none under 600 pages.

Next up: A brief detour into non-fiction with food writer Peter Kaminsky’s book on eating more healthfully without giving up the pleasure of great cooking, Culinary Intelligence.

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→ September 28, 2012
→ By

Lush Life.

I discovered Richard Price’s 2009 novel Lush Life on Lev Grossman’s list of the ten best novels of the 2000s, where it was one of only two novels I hadn’t read (the other is Neil Gaiman’s American Gods). Price’s novel was, and still is, just $6 new on amazon, and after picking it up I found out Price wrote the story and/or teleplay for five episodes of The Wire, which would have been enough to sell me on the book in the first place. (He even appeared as the leader of the prison book group where D’Angelo Barksdale gives his thoughts on The Great Gatsby, one of the best episodes in the entire series.) Lush Life does have a lot in common with that TV series, in its realistic depictions of the police and the criminal underclass, in outstanding dialogue that’s almost a little too sharp to be real, and in the deft weaving of multiple storylines revolving around a large ensemble of characters. It’s the best novel I’ve read this year.

Lush Life begins, after a brief prologue, with a murder, a mugging gone wrong in the small hours on a street on Manhattan’s Lower East Side, where three drunk white men are accosted by two teenagers in an encounter that leaves one of the men dead, another passed-out drunk on the sidewalk, and the third unable to tell a straight enough story for the police. From that starting point, Price branches the story further and further out, tracking the two surviving victims, the two assailants, the murder victim’s father and stepmother, and the various detectives investigating the case (and the higher-ups who either want the case closed quickly or forgotten entirely).

By setting the book in the broad tableau of Manhattan urban life, Price can touch on a vast range of themes without ever making one central or lapsing into preachy or pedantic prose. Race sits at the heart of the novel because the victims were white while the assailants weren’t, and because the white-dominated media loves a privileged white victim of urban crime. Yet Price avoids most explicit discussions of race or racism, allowing the story to unfold through dialogue and changes of perspective that also show scenes of the economically disadvantaged project kids, two of whom are responsible for the crime, most of whom are shown without much hope of upward mobility outside of theft or the drug trade. The media are largely shown as leeches. The higher-ups at 1 Police Plaza are more interested in results that keep them employed than, in this case, closing a difficult-to-solve case. Even the detectives who caught the body here – led by Matty Clark, a McNulty-esque character with less of a drinking problem – are far from saints, motivated to close the case and move on to the next one so no one breathes down their necks, even if they don’t get the right perp, while Clark becomes entangled with the victim’s family with unintended consequences.

The most remarkable aspect of the novel is just how much Price manages to pack into a book of about 450 pages, between the richly developed characters and the myriad plot threads that spread from the initial murder and in many cases come back together at the novel’s close. I finished Lush Life feeling like I’d just watched a six-episode season of a TV drama, something as intelligent as The Wire yet surprisingly fresh and compact. The dialogue sparkles and the characters never seem to sit too far to either side of the wide expanse of grey between the two stock extremes. It’s also darkly funny in places, sometimes with gallows humor, sometimes with the stupidity of the kids getting caught with cars full of marijuana smoke or the venality of the cops, lawyers, reporters, and business owners whose lives are indirectly affected by the murder. It’s not groundbreaking literature, but it is highly intelligent fiction that never talks down to its reader and possesses the narrative greed of a good detective story even though the reader knows who committed the crime and is less concerned with their capture than with the evolution of the story in between those two points.

Next up: Don DeLillo’s very strange novel White Noise, part of the TIME and Radcliffe 100 lists.

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→ September 20, 2012
→ By

The Tiger’s Wife.

Tea Obreht’s debut novel, The Tiger’s Wife, won the Orange Prize for Fiction (now known as the Women’s Prize for Fiction) in 2011, making her the youngest author to win the award, given to the best English-language novel written by a female author in the preceding year. It’s an unusually thoughtful book for an author of 25, reflecting Obreht’s upbringing in the former Yugoslavia until age 7, when her family moved to Cyprus to flee the war, eventually settling in the United States. The book employs magical realism and obvious yet strong symbolism to cover the tragedy of her native country’s brutal sectarian civil war, although the story was surprisingly antiseptic for such an awful, emotionally-charged subject.

Obreht’s protagonist/narrator is Natalia, a young doctor who has recently lost her grandfather, to whom she was extremely close as a child and who often told her stories of his encounters with “the deathless man,” a man who could not die and claimed to be an agent or acolyte of Death itself; and of the tiger’s “wife,” a deaf-mute woman who befriends a tiger that escaped from a local zoo and lives in the woods outside of the town where the woman lives with her abusive husband. The deathless man draws from just about every major work of magical realism you can think of, as well as more overtly spiritual works like The Alchemist, and as a result is the less interesting of the two major subplots. I understand his relevance in a country repeatedly torn apart by wars, both civil and continental, where death becomes an ordinary part of life, and could see his value as a symbol of something that cannot die or be killed (national pride, family, love) even when death is everywhere.

The fable, presented as fact, of the tiger and the woman known in her village as the tiger’s wife is more complex and more compelling, even though it starts with one of the worst cliches and ends in hatred and intolerance. The tiger is the outsider, escaped from a zoo elsewhere in the country, scraping out an existence on the periphery of this village, apparently aided by the deaf-mute wife of the abusive butcher (the cliche, right down to his back story). Her unknown relationship with the tiger, especially after her husband’s disappearance, becomes the subject of gossip in the town, fueled by fear, ignorance, superstition, and hate. Here lies the book’s greatest strength – where Obreht could have beaten the reader over the head with “bigotry is … bad!” commentary, she allows the story itself to make those points subtly, further softened by the use of a non-human character who appears more often in conversation than in the flesh.

Natalia herself, however, is surprisingly bland, more of an outside observer in the mold of Nick Jenkins without the latter’s wry observational humor. Her relationship with her grandparents is sweet, but draws little sentiment from the reader because so much focus is on the two secondary stories. Her own relationship with her friend Zora, another doctor with whom Natalia visits an orphanage to deliver vaccinations, is an afterthought, as is the story of the band of gypsies tearing up a local field to find the remains of a cousin buried there during the country’s civil war twelve years earlier. It’s rare that I write that a book could have been longer, but Obreht cut herself off too soon and could have tried to tie the four main plot strands together more fully.

Ultimately Obreht’s book reminds me of the two novels by Khaled Hosseini, both strongly symbolic novels that attempt to tell a specific country’s tragic history through smaller narratives, yet both books I enjoyed reading more than I enjoyed pondering after reading them. There’s absolutely nothing wrong with reading for pleasure, but for whatever reason, I prefer novels that stick with me more after I’m done.

Next up: I finally went back and finished Rudyard Kipling’s Kim, which was borderline unreadable, and am about to begin Lush Life, by The Wire writer Richard Price.

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→ September 16, 2012
→ By

Are You There, God? It’s Me, Margaret.

When I decided seven years ago to try to read every title on the TIME 100, the book that intimidated me most wasn’t The Recognitions, Gravity’s Rainbow, or Infinite Jest. It was a 150-page book aimed at children, one I refused to read until it became available in e-book format because I couldn’t be seen reading it in public – Judy Blume’s Are You There God? It’s Me, Margaret, in which the title character has to deal with moving to a new school, facing the onset of puberty, and exploring religion in the midst of a family battle over what faith, if any, she should follow.

The book touches on a few themes I’m not really prepared to cover here, including the ardent desire by Margaret and her classmates to get their first periods. (Given what many of the women I know have suffered as a result of this process, this must be the greatest example of “be careful what you wish for” in literary history.)

Blume’s broader theme in the book is about the need to fit in with one’s peers, especially for children approaching such a sensitive stage. Every child character in the book acts in some way on his/her insecurities about fitting in socially or even physically. While the treatment of the one girl in the class who sprouted early (in fourth grade, which would mean she hit puberty at nine) has an obvious resolution to any adult, it matches lessons my wife and I try to teach our daughter when she notices kids picking on other kids at school, that the bully and the victim often both need others’ help.

Even the subplot of Margaret’s search for God or religion works within this broader theme, although in this case Margaret is trying to fit in within her family, where her parents, one raised Jewish and one Christian, don’t practice any religion, while Margaret’s mother is estranged from her parents because of their fury over her marrying a Jewish man. (They eventually make a horribly awkward appearance toward the end of the book, straight out of central casting.) Of all the various strands within the book, this one was the most sophisticated and thoughtful, as Margaret, who generally sees herself as behind her peers, shows a more mature side in her desire to at least understand more about religion and her open-mindedness about the subject.

I appreciated the subtle humor of the book, even though some of it would likely fly over younger readers’ heads. Margaret commenting, without meaning to pick on the boys who haven’t seen their voices drop yet, about music class where “mostly the boys sang alto and the girls sang soprano,” or her grandmother using the expression about Mohammed coming to the mountain in the midst of the family’s battle over religion, or her matter-of-fact observation that her mother can talk her father into anything, each kept the book from becoming dry and preachy with its simplistic morality.

But unlike a lot of classic young adult novels, Are You There, God? It’s Me, Margaret comes across as juvenile to adult eyes, not due to gender differences but because it’s so thinly written. The plot is highly predictable, and the stories are all flimsy enough that you’d have trouble stretching this into more than a half hour of television. Most of the adults in the book are ineffectual, while the boys are mostly creeps (as is the 24-year-old sixth grade teacher who can’t stop staring at the girl who has already hit puberty). It feels like a book you might give your nine-year-old daughter to prep her for a Big Talk, but it’s not the kind of book that’s serious enough to answer any questions on its own. Its main value may be in making its readers feel better about their social anxiety around puberty, changing schools, and generally fitting in with peers, which is worth something, but maybe isn’t as ambitious as the book could have been. None of which made it any less awkward for me to read, although at least now I can cross it off the TIME 100 checklist.

Next up: I just finished Téa Obreht’s Orange Prize-winning The Tiger’s Wife, which blew away my modest expectations.

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→ September 1, 2012
→ By

Gun, with Occasional Music.

I did a final blog post on Arizona Rookie League prospects yesterday, including the Cubs’ big bonus baby Juan Paniagua; some other Cubs, Rangers, and Royals prospects; and notes on Tyler Skaggs and Jacob Turner.

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Back in December, reader JD recommended Jonathan Lethem’s 1994 novel Gun, with Occasional Music to me, saying:

It’s the best and funniest modern (well, futuristic) noir I’ve read — Chandler and Hammett by way of Philip K. Dick and Who Framed Roger Rabbit. And it’s shorter than a playoff game, to boot.

All of which is pretty accurate – the various pull quotes from critics include two that mention the Dick/Chandler combination, but Lethem’s dystopian hard-boiled detective novel is also more wryly funny than either writer was, and occasionally a little too wrapped up in its own sci-fi stylings (although so was Dick’s Ubik). It’s one of the most interesting books I’ve read this year, and certainly one of the quickest, including a clever twist in the final third of the book that differentiates it from the standard (and slightly hackneyed) hard-boiled format.

Lethem’s detective, Conrad Metcalf, is a drug-addicted “private inquisitor” – but the drug addiction isn’t a big deal, as everyone in the novel is using “make,” a blend of drugs provided for free by the government and customized for each individual, including components like Forgettol, Acceptol, and Addictol, as an actual opiate of the masses to keep everyone in line. Citizens also carry around magnetic cards that track their “karma points,” which can be increased or, more commonly in this book, deducted by formal inquisitors from The Office, the Gestapo-like police presence that stands in Metcalf’s way as he tries to help a client who’s been set up by the Office for a murder he didn’t commit – one that pushes his karma down to zero, threatening him with this new world’s equivalent of prison, cryogenic suspension. Oh, and Metcalf is being dogged by a trigger-happy gunsel who just happens to be an evolved kangaroo.

The rich details of Lethem’s dystopian world start to overwhelm what is, at heart, a straightforward detective novel, one where Metcalf starts investigating one case and ends up enmeshed in a conspiracy to cover up one crime that eventually involves a second murder, Metcalf getting knocked unconscious*, and a web of lies and suspicions of adultery that doesn’t clear up until the penultimate chapter. Even though I felt little or no sympathy for any of the characters involved in the crime, Lethem layered enough complexity into that part of the story that the story maintained my interest level right to the end, both to see how the crime took place (I didn’t figure it out) and how Metcalf’s own side story would be resolved.

*If there were a hard-boiled detective story drinking game, the detective taking a blackjack or other blunt object to the back of the head, describing the carpet as it approaches is face, and waking up somewhere else would be worth two shots.

The dystopian aspects varied in their effectiveness. The “make” was at the top of the list, both because of its veneer of plausibility and because of its increasing relevance to our dependency on Big Pharma (and I say this as someone who depends on them myself). The evolved animals are largely props beyond the kangaroo, who could just as easily have been human. The “babyheads,” children with evolved brains but immature bodies, seemed to serve no purpose whatsoever. The karma cards, once you get past the RPG experience-points feel, also feel somewhat prescient, written seven years before the Patriot Act and the start of our era of no-fly lists, monitoring of electronic communcations, and other erosions of privacy in the name of increasing security. It’s dark but feels more madcap than paranoid, even though there’s a clear paranoia underneath the surface. If you can gloss over some of the slightly siller sci-fi trappings of Gun, it’s a fast-paced detective story with enough of a serious underpinning to elevate it above the various pulp authors who’ve tried (and mostly failed) to repurpose Chandler and Hammett into different eras.

Next up: Alessandro Piperno’s The Worst Intentions, which, after reading about 40% of the book, I would call an Italian version of Portnoy’s Complaint.

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→ July 18, 2012
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Gentlemen Prefer Blondes.

I rarely recommend any product I haven’t used or read, but I’m making an exception in the case of the new e-book The Hall of Nearly Great because it includes so many great writers, telling the stories of good big leaguers who were never good enough to earn legitimate Hall of Fame consideration. (I do have a copy of the book, but haven’t started it yet.) It’s available now for just $12 through that link.

I wrote yesterday about improved and declining farm systems for Insiders.

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Anita Loos’ 1925 comic novel Gentlemen Prefer Blondes is best remembered now for Howard Hawks’ movie adaptation, starring Marilyn Monroe and Jane Russell, but at the time of its release it was an enormous best-seller, second only to John Erskine’s The Private Life of Helen of Troy among novels published in the U.S. that year. Loos’ book, a scant 120 pages, is now typically sold with its sequel, But Gentlemen Marry Brunettes, a weaker sibling that doesn’t have the same high or low comedy of the first book.

The blonde in question is the shameless gold-digger Lorelei, who narrates the novel in diary form, detailing her exploits in convincing various witless suitors into buying her expensive meals, clothes, and jewelry, while also taking her from California to New York to London and across Europe. What Lorelei lacks in brains she makes up for in cunning, manipulating multiple men simultaneously without any remorse for the way she leads them on and leaves them once she finds a better offer. She’s accompanied by her sarcastic friend Dorothy, whose lack of decorum and interest in men without money confuse and aggravate Lorelei, whose only end seems to be having a good time through someone else’s wallet. For the time, Lorelei’s casual attitudes towards love, sex, and money, as well as a disinterest in then-traditional female roles of doting wife and mother – even when she settles on one man at the end of the novel, it’s more about what he can do for her budding career than about love or family.

The book is extremely funny between Lorelei’s own observations and the occasional cutting line from Dorothy; Lorelei is always talking about “educating” herself by reading, yet confesses that she and Dorothy “do not seem to be mathematical enough to tell how much francs is in money.” She says her friends told her she had talent for music, but “I mean I simply could not sit for hours and hours at a time practising just for the sake of a career.” (Spelling errors are rampant throughout her diaries, accelerating once she and Dorothy reach Paris.) And because she’s beautiful and, presumably, because she’s blond, men fall all over themselves to buy her affections – in a rare turn of events, it’s a book where the thinly-drawn characters are males, a sort of anti-Sorkinism that had to be even more unusual in the ’20s.

But Gentlemen Marry Brunettes doesn’t live up to its predecessor’s humor, as Lorelei only appears as the narrator of Dorothy’s life story, from a very rough upbringing to her eventual pursuit of a wealthy New York scion whose mother rather thoroughly disapproves of the match, setting various schemes in motion to save her son from a disastrous marrage. The narrative is more traditional, but aside from the slapstick nature of Dorothy and her beau chasing each other while her would-be mother-in-law interferes, it lacks the farcical nature of the first book, in part because Dorothy is no longer the wise-cracking observer but is enmeshed in the plot. It’s as short as the Blondes, though, and with the original illustrations by Ralph Barton taking up a number of pages, you could probably knock off the pair of novels in three hours or so.

Next up: I’ve finished Mario Livio’s The Golden Ratio (about the irrational number φ) and moved on to Michael Ruhlman’s The Making of a Chef: Mastering Heat at the Culinary Institute of America.

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→ June 9, 2012
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Ray Bradbury + the Saturday five.

Ray Bradbury died this week at the age of 91, leaving behind an enormous legacy in literature, one that I fear will be excessively defined as a canon of science fiction, rather than merely of great writing.

My favorite Bradbury novel is the gothic horror story Something Wicked This Way Comes, which I ranked at #28 on my list of the best novels I’ve ever read. It’s a brilliant thriller, one that relies on implied fear rather than graphic violence, but it is also a wonderfully written work that includes one of my favorite lines in all of the novels I’ve ever read:

He laughed, then stopped.
For he though he heard a soft tread
Off in the subterranean vaults.
But it was only his laughter
walking back
through the deep stacks
on panther feet.

That last sentence has stuck with me for over a decade since I first read the novel. Not only is the idea of walking “on panther feet” a phenomenal, evocative image, but there’s poetry in the sentence itself: The rhyme between “back” and “stacks;” the assonance with those two words, “laughter,” and “panther;” the way the sound recedes as you read (or say) the sentence, almost like the words are descending a staircase away from you. It’s just one line in a 200-page book, not even a critical line in the story, but it’s one bit of evidence that Bradbury was more than just a great writer of speculative fiction – he was a great writer of prose.

To the links…

First, my own content:

* American League draft recaps.
* National League draft recaps.
* My day one recap.
* My June 5th chat, which took place during rounds 2 and 3.
* Where each team’s top drafted prospect ranks in their farm system.
* Podcasts: Thursday and Tuesday, plus my Tuesday hit with Colin Cowherd.

And from others…

* Why It’s Ethical to Eat Meat, by Michael Ruhlman. I’m on board with all of this except the quotes from the farmer about the animals being “good with it.” If they had that kind of cognitive ability, we wouldn’t eat them at all, right?

* The New Neuroscience of Choking, by the superb Jonah Lehrer. I have two main problems with applying that study to the question of whether clutch or un-clutch players exist in MLB. The larger one is that the subjects were not highly trained since youth to perform the task they were then asked to perform with the reward promised to them. The smaller one is that my longtime argument about choking isn’t really addressed here – that players who are unable to perform under pressure would likely be weeded out long before reaching the majors, because pressure situations exist at all levels of baseball, and merely playing baseball at all in front of a crowd, knowing that your career hinges to some extent on your performances in front of scouts and your statistics, is in and of itself a pressure situation. That stance, of which I believe Occam would approve, is fully compatible with the study’s findings.

* To Grow A Craft Beer Business, The Secret’s In The Water, from NPR. Have they stepped up their coverage of food/drink subjects, or was I just behind the curve in noticing it?

* Cuisines Mastered as Acquired Tastes. Are non-native chefs who learn “ethnic” cuisines somehow at an advantage because they are more willing – or able – to think outside of the box?

* McSweeney’s Ultimate Guide to Writing Better Than You Normally Do. Very witty but with some useful tips in here … including some I should probably try myself.

* Bonus link: An interesting infographic on how healthful, local food creates jobs. I can’t vouch for the accuracy of the report and data behind it, though.

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