Showing posts with label Lethem. Show all posts
Showing posts with label Lethem. Show all posts

Tuesday, January 17, 2012

Revenge of the Tab Dump

As always, interesting articles that I indended to write about, but never found the time.

1. I spend most of my professional life working in PowerPoint. Slide:ology helped me to learn how to design better slides. It could help you too.

2. Justin E.H. Smith argues the, to me, obvious point that marriage is work:
One might suppose rather that love and work—or at least a distinctly modern, capitalist conception of work—are two sides of the same coin: both emerge together at the same moment in history, and both carry with them the ungrounded belief that each of us has our destiny in our own hands, that our happiness is entirely a consequence of our life choices, and our misery a surefire sign that we are doing something wrong. In this connection the contemporary use of "passion" serves as a revealing misnomer. For how many can recall that, originally… to undergo a passion was to suffer an affliction over which one had no control? … in the modern world, in both work and love… we are expected to treat the things that happen to us, that cannot but happen to us, as a result of the way our society is structured, as if they were the result of our own sundry projects of self-creation.
He’s a bit too cynical and determinist for my tastes, but there’s some truth in there: many, many people do not hold their destiny in their hands, for one reason or another.

3. I’d Rather Be Writing ponders a good question for all writers.
I was talking with my wife’s uncle last week about writing strategies for fiction, and whether it’s better to outline everything ahead of time, or figure it out as you go. The former is apparently called a “plotter” method and the latter a “pantser” method (called pantser because you fly by the seat of your pants).
He said there’s no right way, but if you’re planning to figure it out as you go, it’s still a good idea to write your last chapter ahead of time. This way you know generally where you want to end up. If you don’t know how your novel is going to end, he said, you often wander around and eventually end your novel in fanciful/unbelievable way. Further, pantsers often lose motivation because they don’t know the point or meaning of their story.
He goes on to connect this to his life as a Technical Writer. I always enjoy his posts; he’s a thoughtful writer who has some great insights in the details of technical communication.

4. AGNI interviews Johnathan Lethem about sampling and creation. I love how Lethem thinks. Some samples:
  • On using quotations in his work: “Girl in Landscape is relatively free of cultural reference. The voice is in the third person omniscient and stays relatively close to a thirteen year old girl who’s not a voracious reader or music listener, who lives in the future, and on this other planet. Yet I know there was at least one moment when some descriptive passage of the desert landscape under the sky slipped into a tiny bit of a Joni Mitchell lyric. It was irresistible, it was like a throb in the voice that just felt right, and there’s no reason in the world why I wanted to resist that. There might have been five words of quotation, but direct quotation, and I just let it be. But that’s notable because it’s so exceptional inside that project."
  • On Dylan and his sources: “This whole question of quotation and theft in Dylan tends to be looked at in arguments in favor for or against his unique genius, as though he himself were introducing the very problem that undermines his own claim. In a way it’s giving him too much credit to call him an original thief. He’s a typical thief. So can we now please just leave that question behind? When an ideology exists, no one is free of it. He’s spent a lot of time defending himself or obfuscating about sources because he has absorbed the same frameworks that people are using to judge the work."

Ultimately, if art is working then it’s done something and you only need to become interested in sources if they interest you. Nothing more needs to be said. When art succeeds it’s its own law, it’s its own reason for being.” I know that the few “original” things that I write almost always spin off of something else that I’ve read, either consciously or subconsciously, and certain phrases that I use have been used in that way before. If this should be called “sampling” so be it – I believe that the modern world is better off for it.

5. The world's smallest known vertebrate. I miss having frogs in the house.

6. Gotta say, a movie called All Watched Over by Machines of Loving Grace sounds fascinating: Adam Curtis, the director, describes it as "...This is a story about the rise of the machines/and how they made us believe/we could create a stable world/that would last forever."

7. In her essay collection In Other Worlds: SF and the Human Imagination, Margaret Atwood splits hairs and describes her Science Fiction - The Handsmaid's Tale, Oryx and Crake, The Year of the Flood - as "speculative fiction" rather than scifi.

8. One of my favorite albums is the Kinks' Village Green Preservation Society, and probably the most rocking tune off this understated album is the majestic "Big Sky." Adam Fieled overthinks the songs implications.

Tuesday, September 6, 2011

What Makes Murakami Addicting?

I was in a weird mood the other night, and so didn't want to continue reading You Don't Love Me Yet (Lethem's excellent rock and art and love novel), so, in anticipation of IQ84, I blew the dust off of Murakami's The Wind-up Bird Chronicle and lost myself in the first two chapters. I mean, seriously lost myself: I stayed up way too late because I got lost in that Murakami groove.

This morning, I pondered: what is it about his writing that is so mesmerizing? I mean, it's not like his prose is anything unique; on the contrary, some of the descriptions are so bland that they verge on cliche. For instance:
"An old, brown, withered Christmas tree stood in the corner of one garden. Another had become the dumping ground for every toy known to man, the apparent leavings of several childhoods. There were tricycles and toss rings and plastic swords and rubber dolls and tortoise dolls and little baseball bats. One garden had a basketball hoop, and another had fine lawn chairs surrounding a ceramic table." p.13
There are portions of his novels that just go on and on like this. In fact, to me his uninspiring novels (I'm looking at you, Dance Dance Dance) border on boring for this very reason. What I think it is is that this familiarity of prose (can't think of a better way to put it) really puts you in the mindset of his typical protagonist, a "boring" male in his 30s who is a bit of a stranger to himself, into routines, etc. This sucks you into a certain ordered mindset, and the bizarre events start occurring - and they do! - the juxtaposition is that much more jarring. You see this in great effect in Hard-Boiled Wonderland and the End of the World, where the "normal" chapters are interspersed with the "fantasy" chapters and while they tell completely different stories, the manner of telling is exactly the same.

This is a long way of saying that to me, it's really the plot of his novels that is so engaging. Bizarre occurrences and complete normality live side by side with no real explanation and after a while just start to make sense in a strange way. Think "Johnny Walker" and "Colonel Sanders" in Kafka on the Shore and how they fit into the novel. Critics writing about Murakami bandy about labels like "dream-like" and "magical realism" (which always makes me think of "Latin" authors (think Gabriel García Márquez) but I think what Murakami is trying to do is different - it's more subtle, subconscious, and ironic. And I just can't get enough of it!

In just the first chapter of TWUBC, the narrator is called multiple times by someone who wants to talk dirty to him and exclaims that "Ten minutes... is all we need to understand each other." He makes spaghetti and listens to Rossini and tells us about his lost cat and boring job. He falls asleep in the yard of a 16-year old girl who puts him to sleep by whispering about "the lump of death... something round and squishy, like a softball, with a hard little core of dead nerves. I want to take it out of a dead person and cut it open and look inside. I always wonder what it's like." p. 20

This type of writing combines the boring and cliche with the bizarre and unlikely, and presents it all equivalently. Most of his writing is ambiguous, as if the author himself wasn't entirely sure what it all means. To foax like me, who loves to try and fill in the blanks, it's a heady brew.

Cross Posted at Reading, Running and Red Sox.

Saturday, September 3, 2011

First Lines of "You Don't Love Me Yet"

They met at a museum to end it. There, wandering through high barren rooms full of conceptual art, alone on a Thursday afternoon, Lucinda Hoekke and Matthew Planget felt certain that they wouldn't be tempted to do more than talk.
- Jonathan Lethem, You Don't Love Me Yet

Monday, August 30, 2010

Long Lethem

The Paris Review had an impressively long interview with Jonathan Lethem right when The Fortress of Solitude came out in 2003. Fascinating stuff, especially for his insights into how he views fiction (right in line with my thoughts) and how Philip K. Dick influenced him:
Pulp SF of the 1930s magazine type is folk art. Then Dick comes along and isolates those tropes that connect it to literature, surrealism, film, comic books, rock and roll. He’s George Herriman, he’s Buster Keaton, he’s Bob Dylan. Dick discards the uninteresting stuff, the pedantic explanations, and preserves precisely the dreamlike, surrealist, evocative, paranoiac reverberations that were all I ever cared for, when I found them scattered elsewhere. I couldn’t imagine that someone else would think Dick had thrown out the wrong stuff, which is exactly what many who exalt the genre think.

If they do this sort of thing on a regular basis, I may have to subscribe!

Monday, May 17, 2010

Quote of the Day

Watching how some of my colleagues continually work through the weekend reminded me of this quote:
Being a human being, she sought vindication for the choices that had made her lonely....
 
Jonathan Lethem. Chronic City. Page 333
Now, it's possible that all this weekend work doesn't affect them, but I know that it would kill me...

Thursday, April 15, 2010

First lines of Girl in a Landscape

Mother and daughter worked together, dressing the two young boys, tucking them into their outfits. The boys slithered under their hands, delighted, impatient, eyes darting sideways. ... The four were going to the beach, so their bodies had to be sealed against the sun.

- Jonathan Lethem, Girl in a Landscape.
Yes, I'm back for more Lethem. This is one of his earlier, scifi-drenched novels, and it should be quite fun. More fun, I hope, then the relentlessly grim and sordid Going Native which was relentlessly depressing in it's depiction of simply abbhorant people. Nothing like what Wright's The Amalgamation Polka had led me to expect (with the exception of the exhileratingly fun prose.) I gave it up after two chapters, unable to take any more. It reminded me of a suburban version of Last
Exit to Brookyln
in it's examination of hopeless people but with less of Selby Jr.'s sublime insight into human motivation. 

Tuesday, March 30, 2010

Quote of the Day

To whom does New York City belong? Not to schoolchildren. Not to the citizen shuffling cowed and amazed among marble floors in the Frick or Cooper-Hewitt, or paging bug-like through some tome under the green lampshades of the 42nd St. reading rooms. Money communes after hours in these places, after the turnstiles have been stilled. Money shows itself only when it cares to. Mostly it lurks instead in the high prosceniums and fitted-rosewood ceilings, the broad granite staircases, the fitted-veneer mosaic archways, and as well in the fitted tuxedos and fur coats slumbering in walk-in closets, the strings of pearls and antique diamond cuff links biding time in their felt-lined drawers. Then comes one morning in the mail the engraved invitation, the stamped reply card, with boxes to check, indicating numbers of seats at two thousand a pop, or the whole table at ten grand.
 
Jonathan Lethem. Chronic City. page 128

Monday, March 29, 2010

Quote of the Day

Perkus Tooth's ethos: 
Don't rupture anothers illusion unless you're positive the alternative you offer is more worthwhile than that from which you're wrenching them. Interrogate your solipsism: Does it offer any better a home than the delusions you're reaching to shatter?
 
Jonathan Lethem. Chronic City. Page 341

Wednesday, March 24, 2010

Quote of the Day

I can't say that I have any clue where Chronic City is going, but man do I like reading it:   
These guessing words I find junked in my brain in deranged juxtaposition, like files randomly stuffed into cabinets by q dispirited secretary with  no notion of what, if anything, might ever be usefully retrieved. Often all language seems this way: a monstrous compendium of embedded histories I'm helpless to understand. I employ it the way a dog drives a car, without grasping how the car came to exist or what makes a combustion engine possible. That is, of course, if dogs drove cars. They don't. Yet I go around forming sentences.
 
Jonathan Lethem. Chronic City. page 125

Friday, March 12, 2010

Note to Jonathan Lethem

Stories about dinner parties and how ironic and aloof the participants are from their decadent proceedings, are dull, dull, dull, regardless of how well they are written. And the prose in chapter two of Chronic City is excellent--it's fun, interesting, and insightful-- but it's still boring. I only hope it fits into place with the rest of the novel.

Sunday, March 7, 2010

First Lines of "Chronic City"

I first met Perkus Tooth in an office. Not an office where he worked, though I was confused about this at the time. (Which is itself hardly an uncommon situation, for me.)
- Chronic City, by Jonathan Lethem.

I find Jonathan Lethem to be one of the most promising "newer" writers these days. His merging of genres provides an energy to his prose that is exciting, and his ideas are always top notch. As i've stated before, his novels to date have been a bit of a letdown in that they don't seem as committed to the bizarre as his short stories. The Fortress of Solitude was a fascinating premise, and it worked for a majority of the book, but I thought that the "growing up" portions of the book were a let down in that they were bland compared to the inventions and wildness of the earlier portions.

So far, Chronic City is building up a nice head of steam. I'll let you know if it makes it to the finish line this time.

Friday, October 23, 2009

I Want It!

Although I wasn't a huge fan of The Fortress of Solitude, I do like Jonatham Lethem's stories. His short stories are fantastic (particurally The Wall of the Sky, the Wall of the Eye, and his scifi/expermental fiction is fascinating.

Chronic  City sounds great. Nice to actually want a new book!