“Publishing is a word that, like the book, is almost but not quite a proxy for the “business of literature.” Current accounts of publishing have the industry about as imperiled as the book, and the presumption is that if we lose publishing, we lose good books. Yet what we have right now is a system that produces great literature in spite of itself. We have come to believe that the taste-making, genius-discerning editorial activity attached to the selection, packaging, printing, and distribution of books to retailers is central to the value of literature. We believe it protects us from the shameful indulgence of too many books by insisting on a rigorous, abstemious diet. Critiques of publishing often focus on its corporate or capitalist nature, arguing that the profit motive retards decisions that would otherwise be based on pure literary merit. But capitalism per se and the market forces that both animate and pre-suppose it aren’t the problem. They are, in fact, what brought literature and the author into being. “
Read the whole article at the Virginia Quarterly Review.
“Robert McCrum, former literary editor of the Observer, rang me about a year ago,” Waterstone recalls. “He said, ‘Tim, I’m doing yet another piece on “Whither the book?” For God’s sake give me something new.’ I said, ‘I’ve done this so often.’ He said, ‘Well, have a go.’ While I was talking, I walked to the other side of the house, where my daughter’s bedroom is. She’s 19, at Oxford, reading English. I walked in, and I could hardly move for books. And she couldn’t be more technically savvy … so I rang her and asked, ‘Why have you got so many physical books?’ She said, ‘I like having a Biro in my hand, scribbling notes down the side.’ So I see the two forms sitting side by side.”
Read the whole story here.
Finishing final edits on a new story called ‘The Tears of Paavo Laht.’ It won’t be in the US release of the collection, but will appear this fall in the new issue of the UK-based magazine The Happy Hypocrite. The theme of the issue is ‘Freedom’ and Lynne Tillman is the guest editor. She kindly asked me to write something for it.
A magazine asked me to write a freeform encyclopedia entry for Arturo Bandini a while back, which I happily did; but then they changed the format on me, to something considerably more dull and straightforward, and wanted me to do my work over again. This I didn’t do, and they let it slide and never paid me. So I’m posting it here, because I thought it was rather good, just as it was.
“Ah Camilla! When I was a kid back home in Colorado it was Smith and Parker and Jones who hurt me with their hideous names, called me Wop and Dago and Greaser, and their children hurt me, just as I hurt you tonight. They hurt me so much I could never become one of them, drove me to books, drove me within myself, drove me to runaway from that Colorado town, and sometimes, Camilla, when I see their faces I feel the hurt all over again, the old ache there, and sometimes I am glad they are here, dying in the sun, uprooted, tricked by their heartlessness, the same faces, the same set, hard mouths, faces from my home town, fulfilling the emptiness of their lives under a blazing sun.”
Ask the Dust, John Fante
Not an immigrant himself, but the child of immigrants, pugilistic, angry, often starving, a wordsmith of an underbelly Los Angeles, a chronicler of a dark side of the moon city in the thirties, passionate, purposeless, bigoted, supremely egotistical, and cut through with more self-loathing than quartz in a California schist, this is Arturo Bandini, John Fante’s magnificent creation and alter-ego in his novel Ask The Dust. He steps onto the stage like many an unlettered peasant torn between two continents. “You are a coward, Bandini,” he says of himself, “a traitor to your soul, a feeble liar before your weeping Christ. This is why you write, this is why it would be better if you died.” Openly modeled on Fante’s own younger self, Bandini is a soul in agony, driven to prove himself, too poor to be a successful drunk, too self-conscious to bed a hooker, and almost choking on his own self-regard. Much as Fante remained a writer’s writer for most of his life, valiantly obscure until he was championed by Charles Bukowski, Bandini is an outsider’s outsider, his immigrant’s rage more closely twinned to Dostoyevsky’s murderous protagonist Raskolnikov. But unlike Raskolnikov, or many of the other deadbeat literary anti-heroes that bear the mark of Bandini’s paternity, there is a wild, unstoppered energy to Arturo, a lifeforce that plunges him headlong into the world, even if it’s often a world of his own hopeless dreams and unreasonable desires. His faults are the follies of too much passion, of caring too deeply, of youth in the moment of explosion, and as much as he is a mirror to torment, he is equally a mirror to a more brilliant world, whose cracked shards shimmer ever so briefly with the grace of a life lived to its very utmost.
Or my take on a tweaked title:
The Possibility of a Purl
Michel Houellebecq‘s unrelenting examination of the erotic possibilities of knitting circles in the distant future, when the only pleasure that humanity has left is the deadening and never consummated sexual charge of watching us knit each other’s clothes.
Check out others at MobyLives.
For Amazon, click on the image.
Scott Turow’s excellent op-ed in today’s New York Times. A must read for authors. Link here.
Last October, I visited Moscow and met with a group of authors who described the sad fate of writing as a livelihood in Russia. There is only a handful of publishers left, while e-publishing is savaged by instantaneous piracy that goes almost completely unpoliced. As a result, in the country of Tolstoy and Chekhov, few Russians, let alone Westerners, can name a contemporary Russian author whose work regularly affects the national conversation.
The Constitution’s framers had it right. Soviet-style repression is not necessary to diminish authors’ output and influence. Just devalue their copyrights.
Here it is. The trailer for my book. Comes out next month. If you’re in India that is. Enjoy.
It’s hard to speak of such a genre-bending and multi-talented artist as Alasdair Gray returning to form (which form exactly would that be?), but for those of us who loved his early books and were sometimes disappointed by the slim efforts of recent years, Old Men In Love should be something to cheer about.