It’s hard to populate this site because I want it to include observations about what I’m reading and seeing. Both take time and with reading I somtimes get into something but then put it away and circle back later. It’s all very whim-driven.
My shelf right now is:
A reread of Slaughterhouse Five, a story I last visitied by reading a theatrical adapation created by the Steppenwolf Theatre Company. I’ll have a lot to say about it when I’m finished. It’s aged remarkably well.
I’ve also unearthed a compendium called “Masters of Modern Drama,” put together by RandomHouse in 1962. I plan to work my way through each script, though it’s an odd compendium, certainly not as inclusive as you’d get in a book like this today.
Finally finished Woody Allen’s engrossing and hilarious memoir and have been reading the reviews along the way, as well. The press has focused on the issues between Woody and former lover Mia Farrow and yes, the last third of the book is about what it’s like to live falsely accused of a horrible crime. But that’s not what the book is about and it’s too bad that we now lack popular reviewers who can read more deeply.
Apropos of Nothing is the tale of Allen’s artistic success and his loves along the way, for sure. Woody’s taken uncanny heat in the press for describing attractive women as attractive women, particularly for his jokes and poetic license. He’s even breen criticized for enthusiastically participating in the free love decades, as if the right thing to have done would have been to abstained in preparation for pruder times. But even this is really not what the book is about.
The heart of the memoir is Woody’s description of his character Zelig, the human chameleon who takes on the beliefs, appearance and mannerisms of anybody he’s with:
“Zelig was about how we all want to be accepted, to fit in, to not offend, that we often present a different person to different people knowing which person might best please. With someone who loves Moby Dick, for example, the protagonist will go along and find things to like and praise about it. With one who dislikes the book, the Zelig character will get with the program and dislike it. In the end, this obsession with conformity leads to fascism.”
This is a memoir about the virtues of self-direction, without deference to the opinions, desires and morals of others not because there’s anything wrong with other people or the way they think, but because it’s dangerous for society when individuals cave to what they perceive as the whims of others.
Allen’s movies have never been for everybody, and that’s intentional. He remarks in the book that he has no interest in collaborating with his audience on his films, so he’ll allow his backers to hold focus groups to inform their marketing but he won’t change his films based on some sample audience reaction. In an age where technocrats think they can quantify creative success, Allen’s story is a refreshing counterpoint.
In the end, his insistence on being himself is why he’s such a polarizing figure. Too few people are willing to do that in a world designed to reward those who merrily go along. This is the tale of a great iconoclast.
Arcade Publishing, the press that brought out Woody Allen’s memoir Apropos of Nothing in a surprise drop today, has a venerable record of fighting censorship and prudery. Its founder, the late Richard Seaver, brought D.H. Lawrence’s suppressed novel Lady Chatterly’s Lover to the public in the 1950s.
“Richard Seaver, an editor, translator and publisher who defied censorship, societal prudishness and conventional literary standards to bring works by rabble-rousing authors like Samuel Beckett, Henry Miller, William Burroughs and the Marquis de Sade to American readers, died Tuesday at his home in Manhattan. He was 82.”
As editor in chief of Grove, he also published The Story of O as well as work by William Burroughs, Henry Miller and the Marquis de Sade. Arcade, the publisher he founded and grew into one of the most important independent publishers in the U.S. has an impressive backlist that includes the memoir of director Ingmar Bergman, for which Allen provided an introduction.
How appropriate that this daring publisher has stepped up to douse the flames of 2020’s virtual book burning.
I don’t know what it was that had me reaching for my Voltaire a few months ago — probably something in the cultural air portending a dissolution of standards and, yes, a Closing of the American Mind that must be dealt with.
New Rules for Cultural Criticism:
Don’t speculate about real people’s personal lives, you’ll never get it right.
Never wish a creative work out of existence. Criticize it all you want, denounce it if you must, but never seek to destroy it or isolate it from other people’s attention.
“De-platforming,” or whatever the scolds are calling it these days, has more in common with red baiting, blacklisting, book burning and Victorian shaming than it does to liberation or empowerment.
The first amendment is a subset, and a damned small one, of free speech and expression. It does not define the concept.
It’s fine not to work on creative projects that offend you morally, but it’s bankrupt to try to hinder them if the creators wish to move on without you.
While you can reassess works you liked in the past, you shouldn’t ignore what initially attracted you to the art. While you don’t have to laugh at the same joke over and over, you can’t unlaugh at something.
Everybody has standing to create anything and to comment on anything. This is the essential human right from which all others derive.
It’s a little weird to push a debut novel that’s already won rave reviews, comparisons to Phillip Roth, a nomination for the National Book Award and was subject of a 10 producer bidding war for limited series rights (won last fall by FX).
But I absolutely loved this novel.
Fleishman is in Trouble is mostly about the divorce of Toby and Rachel Fleishman, he a hepotologist and she a high powered talent agent who helped turn an off Broadway one woman show into the Fleishmaniverse’s Hamilton. They have two children, an awkward and introverted son and a daughter on the verge of adolescence. It’s a book about privilege and rich people problems, yes, but there’s so much more going on.
The story is told, The Great Gatsby style by Libby, a former writer for a men’s magazine who reconnects with Toby and then with Rachel, during a crack-up August as the two finalize their divorce. Like Nick Carroway, she’s an interested observer, though not objective. Unlike Nick, she has her own issues to work out that parallel and add to the story. Since Taffy Brodesser-Akner is also a magazine writer, readers will assume Libby is a stand-in for the author, but all of these characters are so fully imagined that I would not make that leap.
It’s amazing how every character gets their due in this book, with the notable exception of Miriam, who just can’t seem to be fleshed out towards redemption because she’s so… well, you’ll see. She’s really ugh.
It’s poignant, it’s funny, it’s a little sexy and if you have time to pick up and read a copy before the mini-series comes out, it’s more than worth the trouble.
As a former magazine employee (though really after what’s now remembered as a last “golden age”), I might find it too heartbreaking to read the Dan Peres memoir about Condé Nast. But as it was published, I’d finished reading This Could Hurt, a workplace novel by Jillian Medoff where the heroes all work in the HR department of a market research firm that’s been upended and hobbled by the Financial Crisis.
It’s a solid office-based book and I’m a big believer in fiction that portrays the working life. Very often, to set an interesting plot in motion, an author will rely on some deus ex machina to reduce or eliminate the pecuniary needs of the protagonists. One way to do this is to just make the main characters wealthy enough that they only have to work by choice, if at all. Or maybe there’s an inheritance, or a benefactor with other motives… it is nice to get our characters out of the office and into a small town in Thailand, when we can. But most readers have to go to work and they deserve our attention, too.
Among the reactions I’ve seen to the Peres memoir are people who are shocked or surprised that people might take drugs and then go to work, or that they might drink alcohol at lunch.
Medoff’s novel, published in 2018 and set in the early part of that decade, gets a lot of its plot from people stretching and breaking the HR rules as they develop overly personal relationships with one another, in and out of the office. I dare say that though the novel is written by a high-level HR pro, that much of the behavior in her book would not be tolerated in a real workplace, were it unearthed by the wrong people.
Now, in the old days, especially in media, drinking was tolerated in the workplace — well, not for everybody, because nothing was ever for everybody. The guy who indulged in the 3 martini lunch wasn’t a lush with a problem who is messing up the health insurance premiums for everybody, he was a guy with an expense account and enough clout and influence that he could be tipsy or lazy in the afternoon. So if you wrote a workplace novel back then and had a character tip back strong cocktails in the middle of a Wednesday afternoon, the reader would immediately get that they’re reading about a man of influence.
My guess is when presented with that same character in 2020, most readers would see a man with poor judgment and impulse control and a potential villain. Maybe a modern Falstaff would be the best possible outcome.
When I used to work at Forbes there were tales of a long-abolished office drink cart. We 20 somethings wondered, “why don’t they bring that back?” But we knew why and knew it wasn’t coming back. Now people don’t even think it would be a fun idea to bring the drink carts back. They see it as evidence of our collective past dysfunctions.
I’m very late to reading 2013’s Goodbye to All That, a collection of 28 essays by women writers who have left New York City, including Emily Gould Cheryl Strayed, Emma Straub, Dana Kinstler… well, they’re all notable writers and they’re all gone. They do a collectively wonderful job paying homage to Joan Didion, who wrote the essay that named the collection.
I’ll cross 20 years living here in October. I’ve rented in Queens, Brooklyn, Union Square and now the West Village. Our son goes to school here. It’s very much home. But it is interesting to find out, in a seven year old book plucked from the radiator in the lobby where neighbors leave books for the taking, that the Great Lakes Bar in Park Slope shut down years ago, or that the Riviera Cafe on 7th avenue south, which I saw shut down, was there for much longer than I’d thought.
Somehow, we let the state close down Cafe Loup just because the owners owe some taxes. Nobody asked me, as a citizen, if I’d rather have Loup or their tax money, but the answer is Loup! Also, I was assured that Cedar Tavern would come back after it shut down a few years back.
It’s odd to be finishing the book right when Gould is shutting down her independent publishing operation, Emily Books. Or to notice that none of these writers had time to lament the closure of The Awl, which published both my wife and me before it closed and is a badge of honor for us both.
“I wanted more from my city,” wrote Dana Kinstler and I can’t help but agree. In a city so expensive that then mayor and now president hopeful Michael Bloomberg once called it “a luxury good.”
It’s hard to not want more from a city that charges multiples more for monthly rent than a mortgage, taxes and insurance would cost elsewhere (but not elsewhere within a reasonable commute of the city) where the road is also paved badly and difficult to bicycle on.
Even for a die-hard New Yorker, this book makes you think “I’m not getting enough.” It also makes you wonder if the city can still be considered a literary city when it now has so few book shops. Thankfully, we still have The Strand, and Alabaster Bookshop but I half expect we’ll be taking donations to keep the remaining Barnes & Noble locations kicking before too long.
The founder of Brazenhead Books, the speakeasy used bookstore that you had to know some one to get into is “indefinitely closed” after the death of its founder. Les Bleus Literary Salon is also on hiatus after its founder, well, said goodbye to all that.
It’s fun to read the essays from different eras. The writers who came here in the 80s and early 90s really did get the more punk rock, club scene, performance art scene, cheap rent, cheap drugs, cheap bars experience the rest of us didn’t. But there’s also a bygone era of dotcom commerce with two distinct publishing and media booms, both long gone. Still, you’re reminded, that each generation of New York’s visitors finds something new, makes something new and leaves little but other people’s nostalgia for it behind.
So far as moving goes — there is a provincialism in provincial places. I know that, I was raised in New Mexico. But there’s provincialism in big provinces, too. “City hicks,” is a term I’ve used. Technology says we can live any place and there are no longer a lot of book stores anywhere.
Though, London looks cool, if expensive.
ETA: I did write my own “Goodbye to all that,” though I haven’t left. It’s here in McSweeney’s.