29 September 2012
I loved this piece by Michael Chabon in the NYRB on dreams—real and literary. I think a lot about dreams, my own and those of my fictional characters. And I love writing dreams; which is why I’m not sure I agree with Chabon in the end:
Worse still than real dreams, mine or yours—sandier mouthfuls, ranker lies—are the dreams of characters in books and movies. Nobody, not even Aunt Em, wants to hear about Dorothy’s dream when she wakes up at the end of The Wizard of Oz. As outright fantasy the journey to Oz is peerless, joyous, muscular with truth; to call it a dream (a low trick Baum never stooped to) is to demean it, to deny it, to lie; because nobody has dreams like that [...]
If art is a mirror, dreams are the back of the head. A work of art derives its effects from light, sound, and movement, but dreams unfurl in darkness, silence, paralysis. Like a recipe attempted in an ill-provisioned kitchen, “dreamlike” art relies on substitutions: dutch angles, forced perspective, absurdist juxtapositions, arbitrary transformations, and, as Peter Dinklage’s character points out in the film Living in Oblivion, a lamentable superabundance of dwarfs. Dreams in art either make sense, or they make no sense at all, but they never manage to do both at the same time, the way dreams do while we’re dreaming them. (my emphasis)
24 September 2012
I had the privilege of seeing The Culture Project’s 10th Anniversary revival of The Exonerated. I missed it the first time around, but I remember hearing much about it. A friend of mine was at the time working in Alabama as a defense attorney on death row cases, and she’d urged me to see it. I’m glad I had this second chance.
The idea that people are wrongly accused for capital crimes is now, if not “well-known,” much better known than it was in 1992. So the impact of the play may not have been as strong as it would have been had I seen it 10 years ago. And yet still… maybe the measure of its success as art, in addition to documentation, is that I walked out of there feeling a lot of different things simultaneously: grateful, for my freedom and my life; moved and inspired, by the enlargement of soul that these “characters” demonstrated after losing so many years of their lives, after losing, really, their very lives; frightened, that we live in a society whose justice system is so deeply flawed; ashamed, of my pettiness and limits of character; envious, of the depth and breadth of love these people, these exonerated, had given and received throughout their struggle. It would be foolhardy to imagine that I would become a different person after seeing the show, but I do truly feel changed, in some invisible but significant way, for seeing it.
The cast rotates (brilliant for publicity, and for the show itself), and we had the good fortune of an amazing group, including Chris Sarandon, Stockard Channing, Delroy Lindo, JD Williams, and a non-rotating cast who performed impeccably.
Related, filmmaker Errol Morris spoke on this week’s “On the Media” about Jeffrey MacDonald, a man sentenced to death 30 years ago for the murder of his wife and daughters. Morris is convinced that MacDonald is innocent and has written a book about it, a revisionist history, A Wilderness of Error. Will this be THE THIN BLUE LINE 2.0?
21 September 2012
Following is from Sue Halpern, editor of NYRB’s new ebook series. I am actually breathing a sigh of relief. The anxiety of being one these writers “whose first books had been critical successes [but] were unable to find publishers for their second” hovers; but it’s going to be okay. NYRB is publishing these writers, whose books are “loved” by editors who can’t publish them.
A few years ago, around the time I was writing a piece for The New York Review of Booksabout digital reading devices, I ran into a novelist who mentioned that many of his friends whose first books had been critical successes were unable to find publishers for their second. The economics of traditional publishing, he pointed out, did not favor non-commercial books, and when you added in the threat that digital technology posed to bookstores, the end result would be an ever-shrinking market for serious literary books.
The Water Theatre
by Lindsay Clarke
As a writer myself—my sixth book will be published next spring—I was sensitive to the novelist’s lament. I love books—not just their words, but their feel and smell and look; cracking the spine of a paperback is one of life’s great guilty pleasures. But to my surprise, I was finding in my hands-on research for The New York Review that a good story transcends its medium: I could get just as lost in an e-book as I could in a book bound between hard covers. By using the less-expensive e-book platform to introduce readers to writers they would not otherwise encounter, the digital “revolution,” as it was being called, could be harnessed to promote literary culture rather than undermine it.
What better place to launch this venture than New York Review Books, which was already leading discerning readers to great and often forgotten classics of literature? But unlike the NYRB Classics series, these books would be by contemporary authors, writers of depth and insight whose work was being bypassed by traditional American publishing because the economics did not favor them. If any audience would be receptive, I reasoned, it would be the adventurous NYRB crowd.
Sometime later I was sitting in the office of an editor at one of the Big Six publishing houses, a man of exquisite literary taste who had been in the business a long time, explaining the premise of this new venture, which we had named NYRB Lit. I was nervous—did he think it was nutty or misdirected or a waste of time? He turned away for a moment and reached for a pile of papers on his desk. “I love this book,” he said handing it to me, “but we are not going to be able to publish it here.” That word, “love,” is what animates how I want each book to come to me. I am looking for books that someone—an editor, an agent, a writer, a reader—is passionate about, a book that he or she believes must be read.
The Water Theatre, the book that was given to me that day, is now the inaugural book in the NYRB Lit series. Written by Lindsay Clarke…
This is kind of the best news I’ve heard in a while.
17 September 2012
Thanks to Lisa at Like Fire for alerting us to NYRB’s new e-book series, NYRB Lit — “devoted to publishing contemporary books of literary merit from around the world.” Launching this fall, which means, presumably, now!
I’m way behind when it comes to e-reading; when I speak of “turning the corner,” I mean my relationship to e-reading, not e-reading itself. (I tried the Kindle a couple of years ago and just couldn’t do it — no pages, all that scrolling, ick.) But then again: NYRB launching an e-reading series feels momentous; with their beautiful Classics Series (bringing worthy classic titles back into print), and tabloid-format bimonthly mag (long-form reviews and articles), NYRB has felt to me like the last man standing.
And yet, their new series feels… natural. As if they waited until it felt right, no need to rush, and then went for it. Of course it just makes sense, when your mission is to bring the best (non-blockbuster) literary work into the world, and you want to publish new work, economically risky work, that you’d take advantage of low-cost production and distribution. I’m excited.
As always, it looks as if many of the titles will be works in translation; and the “covers,” i.e. the digital thumbnails, are lovely.
I’ve been thinking about an ipad; if the rumors about an ipad mini are true, then the corner may very well be turned this fall — for me, and for NYRB.
13 September 2012
A wonderfully written double-review in this week’s NYRB of the summer’s two best movies — Benh Zeitlin‘s BEASTS OF THE SOUTHERN WILD and Wes Anderson‘s MOONRISE KINGDOM. I wish Geoffrey O’Brien‘s piece was not pay-walled, though. Perhaps one can register with the NYRB for free? I hope so…
I feel stronger about BEASTS than about MOONRISE; I am reminded of an interview with U.S. Open Champion Andy Murray on Charlie Rose the other night, where the phrase “complete game” kept coming up. Murray’s opponent, Novac Djokovic, has power, athleticism, consistency; but Murray has variety, nimbleness, the full array of skills. BEASTS is sprawling and intense, fantastical and hyper-real, equally emotional and physical in its approach to the spectacular; the film’s action, for me, feels integral — both cause and effect in relation to the characters and the world Zeitlin conjures. The action in MOONRISE feels at times (especially at the end) like a mere vehicle to showcase Anderson’s imaginative reach, as manifest in visual and verbal style. Both films, at any rate, well worth seeing.
I am teaching a course of the literature of childhood this term; and writing/thinking constantly about “sense of place,” as an editor at The Common. So both these films, and O’Brien’s review, hit all kinds of chords. Will be writing more about all of the above soon…