The litter in littérateur.

Jed Perl’s piece in The New Republic is too short, but makes all the right points about why the arts matter and why being interested in things you know nothing about matters. It also reminded me of how so much media, so much of the online world assumes that its audience is stupid and incapable of handling or enjoying difficulty.

If the New Yorker has run a better piece this year, I’m not aware of it. David Grann’s piece on Peter Paul Biro and art authentication (and forgery) is an absolute must-read.

There are many cringe-inducing moments in the second Sex and the City film—the poor jokes, the cheap moralizing, Samantha waving around condoms and giving the finger to an angry mob of locals in Abu Dhabi—but the one that really got me came at the very end of the film when Carrie places her latest book—its subject is marriage, and the New Yorker pans it complete with a cartoon drawing of Carrie Bradshaw—on a shelf next to Susan Sontag’s Against Interpretation in her apartment. It’s the same Picador paperback edition of the Sontag book hat I purchased when I was fresh out of college and living in New York. It’s an excellent collection with two very well-known essays, the first of which I’ll mention is “Notes on Camp.” The appearance of the Sontag volume finalized what was already obvious: SATC2 went too far—it was Camp that acknowledged itself as such, it went beyond Camp so as to be meaningless.

Sontag’s most famous lines on Camp: “the essence of Camp is its love of the unnatural: of artifice and exaggeration” and “The ultimate Camp statement: it’s good because it’s awful.” The HBO series of SATC always had some qualities of Camp about it. The characters, while developed over time, remain, with the possible exception of Carrie, archetypes. The jokes and situations were often clichéd and predictable. But the show always had what Sontag considers an essential quality of true Camp: it was dead serious. And that it maintained that seriousness throughout six seasons is what allowed audiences to love it unequivocally, to feel connected to and care about the characters.

I confess to the potentially unforgivable sin of being a straight, white male who fell for the show. I appreciated Carrie’s outfits as much as someone in that position could, which is to say that I thought she looked interesting and I now know the name Manolo Blahnik, but I wouldn’t stand a chance of picking a pair of his shoes from a lineup even if the other suspects came from Nike. Although I’ve lived in New York City twice, SATC probably did more than any other media to shape my idea of New York—the way I think about the City when I’m not there. I mentioned clichés, and it occurs to me that there are good and bad ways to employ clichés in art: you can use them out of laziness because you can’t come up with anything better to resolve a conflict or a silence or you can use them to give a universal quality to some experience, some emotion. SATC the series did both, but more often it did the latter, and sometimes it did so extremely well—nailing the perfect pitch of a line or a break-up or a fight that you, as an audience member with a history of relationships, couldn’t deny of its elemental truth. Yes, sometimes SATC was Camp, but sometimes it wasn’t, and when it wasn’t it was real and relatable and brilliant.

In the show and into the first movie, there were real things at stake for the characters. Sometimes they were disappointed: think of the end of season four—Carrie’s engagement has ended and Big has decamped to the other side of the country, Miranda has become a mother on her own, Charlotte is divorced, and Samantha’s boyfriend has cheated on her. A happy ending was, by no means, assured, and so we watched on for two more seasons.¹ Even in the first movie, it was unclear whether Big and Carrie would ever marry or see each other again after he left her at the altar. It might have carried the prefix of melo-, but this was dramatic tension. Perhaps, as a novice fan, my viewing here is naïve. That, I’ll admit. But I heard the biggest gasps produced by the second film’s plot, and they came when Carrie accidentally left her passport in the stall of a shoe vendor in Abu Dhabi. Did anyone ever doubt she would get it back?

As for the film’s plot, there isn’t much of it. Each character begins the film with a dilemma: Can Miranda have a fulfilling career and her family? Has Carrie’s marriage become staid and stale? Will Samantha maintain her sex drive and sanity with the onset of menopause? Is Charlotte’s husband cheating with their bra-less nanny? That said nanny turns out to be a lesbian at the movie’s conclusion tells you everything you need to know about how low the stakes are in this film—for the characters and, consequently, for the audience.²

Before that and other similarly simple resolutions, the girls spend the bulk of the two-plus-hour film in Abu Dhabi thanks to Samantha and a potential hotel client of hers. They stay in a $20,000 per night suite and have individual, chauffeured Maybachs to drive them around until things go wrong and they offend the locals—at least, Samantha offends the locals. Excess is an understatement. Excess is up, but because seriousness is out, the film misses the mark of being even Camp—it’s too awful to be good.³ Carrie runs into her ex- Aidan in the souk, they have dinner, they kiss, she runs away. The kiss is supposed to be the climax of the film, but it feels entirely inconsequential. She confesses it over the phone to an impassive Big, but of course he takes her back at the end shortly after she returns to New York and moments before she puts her book next to Sontag’s.

Other reviewers wrong-headedly interpret the placement of Against Interpretation as a nod to the women’s liberation movement, in embarrassing contradiction to the film’s message, as they see it. First, if you read Sontag’s journals, it’s obvious that she was just about as dependent as anyone alive on love and affection and relationships. Second, the title essay of Against Interpretation argues against the marshaling of film and literature and art to serve political causes and for experiencing art as what it is and not what one thinks it might represent. Therefore, I find many of the discussions about SATC and feminism to be entirely off base, especially when it comes to this second film.⁴ Yes, three of the girls end up married and yes, the other, Samantha—big surprise!—is on her back at the end of the film. But to focus on this is to miss the point of the film: it’s an extension of the SATC brand.

And perhaps, it’s unfortunate that such a lackluster screenplay will still succeed at the box office by trading on that brand name.⁵ But for a certain set of fans—those who liked the show more for the clothes than for the content—there’s evidence that this film is actually enjoyable. And by evidence, I mean the oohs and ahhs emitted by girls in the Marina theater on the film’s opening night each time the characters appeared in new outfits—or, to appropriately place the emphasis: new outfits appeared on the characters.⁶ And there’s nothing wrong with a little fun, it just that this sort of fun isn’t really for me.⁷ Or rather, I care little about clothes and a lot about character; if it were the inverse, I might have found this film something other than a disappointment.

I recently finished reading Great House by Nicole Krauss, and it’s so obviously the best book—the best anything—of this young decade, that I had to share my reaction here. I hope to write something longer about Krauss’s fiction in a few months.

Here is a profile of DFW that ran in Details magazine back in 1996.

This is the best use I’ve seen of Google Street View.

I just recalled one of my favorite quotes from anyone: Ricky Moody in an interview with the Times Book Review stated his aspiration to “save lives” with his fiction. After all, why shoot for anything less?

I still want short stories to save lives. I want people to feel about the short story the way they feel about “Strawberry Fields Forever” by the Beatles, like their lives were changed by it in some way. And that requires I think a real commitment to dealing with . . . you know, the human passions and not being . . . not feeling that that’s in some way uncool.

Macmillan ran an ad for The Checklist Manifesto in yesterday’s New York Times and took a shot at Amazon. Cheap?

Get ready to give 90 minutes of your life right now.

Clearly, you want the BookBook from Twelve South.

Over at the New Republic, Gish Jen asks, Why Do People Love Catcher in the Rye?

Meanwhile, the New Yorker’s Book Bench blog has collected remembrances and responses from several people, including Wes Anderson, Dave Eggers, and Joshua Feriss. The New Yorker’s Lillian Ross has also unearthed some photos she took of Salinger during the 1960s.

James Barron, who often lends his voice to the Times’ daily Front Page podcast, goes over the New York sites from Catcher in the Rye on the City Room blog.

The Guardian has a good roundup of other coverage.

Vanishing New York collects some news on a shake-up in Manhattan bookstores: Biography Bookshop in the West Village, which you might know because it’s across the street from Magnolia, is moving. Left Bank Books, which has a wonderful selection of collectible and signed editions. Finally, Skyline Books in Chelsea is closing.

A lot of people are saying a lot of things about the iPad. It’s revolutionary! It’s too compromised to be useful! It lacks important features like a phone, multitasking, camera, Flash support, etc. What’s certain to me is that the reactions—pro and con—are pretty much meaningless right now. I was trying to think last night about previous Apple product launches and how I felt about them. As I recall, there have been two Apple products in the past ten years that, when introduced, immediately prompted me to say, I want that! One was the Titanium PowerBook in at MacWorld in 2001 and the other was the iPod with video in 2005. Both products were updates to existing product lines. In the case of the PowerBook, it added a design unlike any other that I had seen before. In the case of the iPod, I thought that video would be a great feature that was worth waiting for. (Everyone knew it was coming once Apple had introduced the iPod Photo.) But here’s the thing, I’ve ended up not using the video feature at all during the past four years, really. I watched one movie on a plane once, and that was it. It wasn’t until I got an iPod Touch with a larger screen and better battery life that I really bothered to use an iPod to watch video.

The greater point here is that no one disputes that the iPod and iPhone were both game-changers—products that people now love and that redefined Apple as a company and a brand. I can safely say that when they launched, I didn’t want either one. I didn’t have anywhere close to enough of my music in MP3 format to make the iPod useful, and it was expensive too! The iPhone was even more expensive when it launched, and I remember thinking that there was no way I would get one because it would never handle email as well as my BlackBerry did. Of course, I did eventually get one, and it still doesn’t handle email as well as my five-year-old BlackBerry. But I don’t care because it does so many other things that I value. I can read the newspaper—several newspapers—in formats that are actually useable! I can listen to Internet radio. I can listen to live baseball games. I can listen to NPR on demand. I can browse the web. I can read stories from the web that I started reading on my laptop. In short, I can do a lot of things that I either didn’t know I wanted to do or whose value wasn’t properly contextualized for me until I actually had and lived with the device for a while.

I’m not saying that the iPad will succeed, but I am suggesting that the factors by which people are predicting its success or failure are, more than likely, incorrect because they are captive to our previous experiences. Who knows that developers will come up with for the device? Who knows what features a second or third generation update might add? Who even knows what it’s like to live with an iPad in your bag or on your desk for even a week? If anyone can take a product for which I feel I had no need and make it desirable, it’s Steve Jobs and Apple. As usual, I’ll be rooting for them. (more…)

Adam Gopnik and other New Yorker staffers responded to Apple’s iPad announcement.

Here’s a list of things from 2009 that I particularly liked. The list has no order to it. And so:

Leica M9 — A full-frame camera that not only is not an intimidating SLR but also comes from the greatest line of cameras—the Leica M series—but is also a gorgeous rangefinder, but also gives you access to the best glass in the world. In short, it’s my dream camera—the one that leaves me short of breath and utterly destroys my syntax when I attempt to write about it.

New York Yankees — There’s something about this team that I really liked more than any Yankee team since the 2001 group that lost the World Series to the Diamondbacks. Teixera, Sabathia, Damon, Matsui, Melky, Burnett, a beautiful new stadium, and the Core Four! What fun they made October and November.

Albert Stash — A laptop bag with a handle that you can actually use to carry it for long periods of time—score!

A Gate at the Stairs — Lorrie Moore’s first novel in I don’t know how long is ambitious and acutely observed and flawed and wonderful. It made me relive, for the first time in years, one of the most intensely felt periods of my life. It reminded me what it felt like then. Can I ask any more of a novel, of a work of art?

Changing My Mind — Many of the essays in this collection by Zadie Smith have appeared in the New York Review, the Guardian, and the New Yorker, but reading them in sequence gives you a greater appreciation for the intellect and wit behind them. Smith’s new essay on David Foster Wallace alone is worth the price of admission.

Too Big to Fail — Andrew Ross Sorkin set out to write a book structured like the film Crash and as thrilling as the business classic Barbarians at the Gate. I haven’t seen Crash, but his book is every bit as thrilling as Barbarians and full of choice quotes and anecdotes from the people at the top of the financial world.

Hiroshi Sugimoto at Gagosian Gallery — I walked across town in nine inches of snow to see this show. Was it worth it? Absolutely.

Sag Harbor — Colson Whitehead’s latest novel should be read on summer evenings on Long Island. Funny and nostalgic with language that is full of vitality and of the 1980s, its effect on me was similar to that of Lorrie Moore’s book, but the world it gave me access to was entirely imaginary—Whitehead’s not mine—and altogether enjoyable. Dag!

Lamy Noto — Okay, so this pen really came out in 2008, but I didn’t see it anywhere in the U.S. until the summer of 2009. A well-designed Lamy for $10? Yes, please.

Dehumanized — Mark Slouka’s essay in the September issue of Harper’s was, perhaps, the most refreshing thing I read all year—someone standing up, for all the right reasons, to the wrongheaded bias toward math and science (and away from the humanities) that has come to pervade everyplace from the university to the corporation to the op-ed page of the New York Times.

Ellipse — Imogen Heap’s first album in four years is awesome and her live show is even more awesome. The leadoff track on Ellipse, “First Train Home,” was my favorite song of the year, and I challenge you to not like it.

iPhone 3GS — I’m still using the original 2g version of the iPhone, but this year’s update brings more storage, video capability, and faster speeds. It’s great to have a product that delivers both Apple’s design sense and a large library of applications. (The Macs I’ve used for the past 15 years have always delivered the former but never the latter.) Listening to baseball games wherever I am? Check. NPR shows on demand? Check. The New York Times in a format that’s easier to browse than NYTimes.com? Double check. Now, if only it was available on a network other than AT&T.

Panasonic GF-1 — It’s no M9, but it’s sort of a poor man’s, i.e. my, rangefinder. When paired with Panasonic’s 20mm f/1.7 pancake lens, it’s the closest thing to a great compact camera that I’ve ever used. See sample photos from others here.

Unibody MacBook Pros — These things look solid!

Range — Was this San Francisco restaurant new in 2009? I don’t know, but it’s good.

The President — Our country got a new one in January, and it was a glorious moment. The man can play basketball and speak and write in complete sentences, and he seems to have a genuine intellect and conscience and sense of ambivalence.

San Francisco Panorama — A very well-done one-time newspaper for a city that has no good regular publication.

Economic Recovery — The Dow and I are both lower than we once were, but we’re certainly better off than we were a year ago.

Cape Cod — I had never been before this year and now I hope that there won’t be a year when I don’t go there.

Empire State of Mind — Maybe this isn’t a new anthem for New York but Jay-Z’s new single is certainly fun. Sinatra needs a break now and then, anyway.

Some things that I haven’t yet gotten around to that came out this year but that I think I might like when I do: The Financial Lives of the Poets by Jess Walter, Let the Great World Spin by Colum McCann, Wild Things by Dave Eggers and Where the Wild Things Are by Dave Eggers and Spike Jonze, and Wes Anderson’s film adaptation of the Fantastic Mr. Fox.

For the evidence, see this study that came out of the University of Alabama.

I just read (and enjoyed) Ian McEwan’s story, “The Use of Poetry,” in the New Yorker at the recommendation of T-Rex Tragedies, who cited this passage, which must make you laugh:

She said goodbye politely enough and went on her way, but Beard walked after her and asked if she was free the next day, or the day after that, or at the weekend. No, no, and no. Then he said brightly, “How about ever?,” and she laughed pleasantly, genuinely amused by his persistence, and seemed on the point of changing her mind. But she said, “There’s always never? Can you make never?,” to which he replied, “I’m not free,” and she laughed again and made a sweet little mock punch to his lapel with a child-size fist and walked off, leaving him with the impression that he still had a chance, that she had a sense of humor, that he might wear her down.

NFI Research has compiled a list of the independent bookstores with the most Twitter followers. Powell’s of Portland comes in first, by far, with 9,880 followers as of October 13, 2009. New York stores dominate the list, and only one Bay Area store, Booksmith, even makes an appearance on it. This is a sharp reversal of the state of things earlier this decade when notable stores, such as Coliseum and Gotham, were closing in New York, while Cody’s and Book Passage were expanding in San Francisco. A revival of indie bookstores has taken place in New York over the past couple years with successful openings of Idlewild, Greenlight, and Word, among others.

According to New Yorker photographer Platon, President Obama had the book Be Quiet, Be Heard: The Paradox of Persuasion by Susan and Peter Glaser on his desk during the campaign last year when Platon shot Obama for the magazine.

Platon delivered this nugget during his talk at the New Yorker Festival this afternoon. Of course, there were several others, as well. When he shot Bill Clinton for Esquire towards the end of Clinton’s Presidency, Platon told Clinton, “Show me the love!” Clinton’s advisers frantically attempted to tell him to not show Platon anything. The President responded, “Shut up. Shut up. I know what he’s talking about,” before delivering the pose that landed on the cover of Esquire. When P.Diddy arrived at Platon’s studio, he told him to cut the Miles Davis record that Platon had on the stereo and put in one of Diddy’s own records. Vladimir Putin is a huge Beatles fan. The three things that Michael Bloomberg said he could not do without on a desert island are “Salma Hayek. Salma Hayek. And Salma Hayek.” One of Platon’s photos helped compel Colin Powell to endorse Obama for President.

MP3 of Platon on snooping through Obama’s desk

I saw Sasha Frere-Jones interview Justin Vernon of Bon Iver as part of the New Yorker Festival last night. After the interview, Vernon played a brief solo set of the following songs. Unfortunately, I didn’t have my MiniDisc recorder with me, and I have yet to acquire a Tascam DR-1. So, I recorded the set with my iPhone, which sounds just about as awful as you would expect. Listen via the player below or download his set here. I’m not sure I got the title of the second song correct, and I couldn’t fine the lyrics online anywhere.

1. Hazelton
2. Miss You Can’t (Real title? YouTube)
3. Flume
4. Hayward

I have to admit that I wasn’t as taken by Bon Iver’s album as most people I know were. However, I’ll certainly give it another chance after hearing him live. What I found fascinating was how Vernon talked about moving back to Wisconsin and doesn’t really have any interest in living anywhere else. Even after making several declarations of allegiance to the place that I’m from, I’ve left it three times this decade. And even though I intended to return each time, I still always left hoping that I would come back and never leave again. Vernon’s comments about place aren’t anything new, but given my personal history and my recent reading of Wendell Berry’s essay “A Native Hill,” hearing someone consciously commit himself to the place where he’s from, even as his work is expanding the possibility to be elsewhere, was valuable. Berry returned to Kentucky after studying at Stanford and moving to Manhattan, and he writes about his home, “Before, it had been mine by coincidence or accident; now it was mine by choice.”

It’s often bothered me than I don’t know many people who lived away from their hometowns after college and then returned to them. And I think Berry and Vernon are getting at something that I haven’t heard much among the young professional set—the value in having your geography be a set place that you serve rather than a place that simply serves your ambition. For Vernon, returning home to write the Bon Iver record For Emma, Forever Ago made geography almost invisible; place became a given, not a distraction. The artistic freedom that allowed Vernon to write a record unlike any other could only come from geographic restriction. And you can really only limit yourself to a place and know you’re not leaving if you love it, if you commit to and are responsible for it. Back to Berry: “…I never doubted that the world was more important to me than [New York]; and the world would always be most fully and clearly present to me in the place I was fated by birth to know better than any other.”

(more…)

No surprises here—John Updike’s archives are going to the Houghton Library at Harvard.

Philip Delves Broughton, whose book on HBS I wrote about last fall, reviewed Matthew Stewart’s The Management Myth in the Wall Street Journal a couple months back. I’m currently enjoying Stewart’s skewering of business theory after having read his Atlantic article that spawned the book a few months ago. His thesis—that management theory is a false science—should be studied by anyone who has ever thought of employing SWOT, Five Forces, the BCG matrix, or any other fallacious framework.

I’ve visited countless author websites over the years, but, perhaps, none that I enjoyed more than Rudolph Delson’s. His Frequently Asked Question page alone is worth a click. Why he is no longer linking to it from his homepage, I’m not sure.

Check out a bunch of artists’ Moleskine journals that are part of the Detour exhibits on this Flickr Photostream.

Publisher’s Weekly has the first review of Valdimir Nabokov’s last book, The Original of Laura. The magazine calls the book a “very unfinished work [that] reads largely like an outline.” What’s most interesting and exciting is how the book will look:

Knopf is publishing the book in an intriguing form: Nabokov’s handwritten index cards are reproduced with a transcription below of each card’s contents, generally less than a paragraph. The scanned index cards (perforated so they can be removed from the book) are what make this book an amazing document; they reveal Nabokov’s neat handwriting (a mix of cursive and print) and his own edits to the text: some lines are blacked out with scribbles, others simply crossed out. Words are inserted, typesetting notes (“no quotes”) and copyedit symbols pepper the writing, and the reverse of many cards bears a wobbly X. Depending on the reader’s eye, the final card in the book is either haunting or the great writer’s final sly wink: it’s a list of synonyms for “efface”—expunge, erase, delete, rub out, wipe out and, finally, obliterate.

David Ulin writes in the LA Times about Amazon’s latest: “The issue, in other words, isn’t that Amazon has erased material from people’s Kindles, or de-ranked gay and lesbian writers, but that it can. This is the problem with the digitized canon and the electronic frontier: It’s mutable to the point of being vulnerable.”

Jonathan Lethem has opened a used bookstore in Blue Hill, Maine, called Red Hand.

I recently read his new book, Zeitoun, and wanted to note here that Dave Eggers is doing a few events in the Bay Area. Make it out if you can. (more…)

Yesterday on the NewsHour Ray Suarez discussed the future of the book publishing business and its handling of e-books with Jonathan Karp of Hachette’s Twelve, one of my favorite imprints. Karp likens the publishing business to gambling, but what business isn’t like gambling? I found his analogy between the Kindle and the Walkman to be a little misleading, however. Sony, though it had a music library when the Walkman came out, didn’t have the same retail relationship with customers. The comparison would be more apt if Karp’s employer, Hachette, was the one behind the Kindle and not Amazon.

Suarez prefaces the conversation with a brief segment about the book business as a whole, including a story about layoffs at Tattered Cover in Denver and a customer’s book buying binge of a response. (more…)

In the past, I’ve tried emailing large PDFs to myself to read using the iPhone’s native PDF viewer. Unfortunately, it’s extremely slow with any sort of large file, so reading books is out of the question. I also tried importing PDFs of books into Stanza. However, the files tend to lose all formatting and line breaks, giving you large continuous paragraphs of text with page numbers and headers embedded in the text of the work itself. One of the reasons why I would like a Kindle DX is to read PDFs of books and journal/magazine articles. However, there are also several reasons why I don’t want a Kindle. (more…)