This is a guest blog post by my little sister.
Since Jack is on hiatus until he finishes his next book, I've decided to update his blog for him. One of the presents I received over the holidays was Multiple Bles8ings, by Jon and Kate Gosselin. Some of you may have seen their show while flipping channels on TV. I think that the show is entertaining. Basically, it is about a very different sort of family. They have two sets of multiple children-twins and sextuplets. There are two eight-year-olds and six four-year-olds. I began watching this show over the summer. The various tales of grocery shopping and taking day trips to amusement parks oddly fascinated me, and every Monday I recorded the new episodes on DVR. One day, I was at the local CostCo grocery shopping, and I was looking over the book section, as I usually do. I had watched the episode about Jon and Kate publicizing their new book, Multiple Bles8ings. I had wanted to read the book, and as soon as I saw it on the shelf at Costco, I put it in the cart. However, my mom didn't allow me to buy it, but then I got it on Christmas morning. The book has been on the bestseller list for quite awhile, and I heard it was well written from a few sources. I wasn't prepared for what I was about to read. From the first chapter I was entranced. I thought that their book would pretty much retell every thing that I already knew from their TV series, Jon and Kate Plus 8. I was definitely wrong. The book went into much more detail then I ever thought possible. My favorite part was the story of Kate almost adopting a little boy. Before Kate became pregnant with the sextuplets via infertility treatments, she longed for just one more child. Kate, by profession, was a nurse before she quit her job. She was monitoring a teenage girl's health before she was to have her first baby. The girl's mother did not want to adopt the baby once he was born because the father was a different race then they were. The mother begged Kate to adopt her grandson once he was born. After pondering their answer to this question for over twenty four hours, Jon and Kate declined, for fear that they would accidentally isolate the boy once he was older because he would be "different". Here is an excerpt from the text-the reasons that they want/do not want to adopt.
"Throughout the night we weighed the pros and cons. Pros-the baby would have two big sisters to spoil him, I would not have to suffer through possibly another difficult pregnancy, and we would be giving this little boy a comfortable, godly upbringing where he would always feel wanted and valued. Cons-we hadn't even thought through this situation for even a full twenty-four hours. What if, even after adopting this baby, I still felt a longing to birth my own child? Would Mady and Cara [their twins] adjust to this abrupt life-changing decision?
And then there was family. I learned later in the day that our families were less than thrilled with the possibility of us choosing this unexpected detour in our future. While not outwardly discouraging it, my mother acted as spokesperson as she encouraged us not to take one step forward with this adoption until we received a clear, concise, peace-in-our heart response from God. Jon's mother, speaking with unabashed honesty, was a bit more resistant. She adored our girls, cherishing their angelic faces and hair like shiny black corn silk. They were her blood, and by all outward appearance, that was more than obvious. Jon and I were concerned that any baby who was not our own would be forever separate, set aside, different. I was not sure if we, in this case would be acting in the child's best interest." (24)
I disagree with their beliefs in this situation. This is the choice that many families have to make that choose to adopt every year. I think that adopting a child who is different just makes them more special and different, but that makes them more interesting. This book would be an ideal purchase for anyone who is interested in the show. Adults and kids alike would enjoy the book, although some parts about the pregnancy are intensely detailed, which would confuse or bore younger kids. If you haven't seen the show before, definitely watch it before buying the book. Ultimately, I recommend this book to anyone! It is an interesting read and different than any other book!
Sunday, December 28, 2008
Saturday, December 27, 2008
Hiatus / Best of 2008 List
This post is to signify that Flying Houses will be going on hiatus for an indefinite length. Don't worry, the reasons for it are not serious. The fact is I have started The Magic Mountain today and it is 851 pages and I do not know how long it will take to read. So do not think me lazy and realize that I am hard at work, whether it turns profits or not.
In recompense, I would like to offer a Best of 2008 List offered up in the Pitchfork style, as if I were a celebrity they wanted to query. Complete with a biographical profile.
Welcome to the first and only edition (for now) of Flying Houses Year-End Guest List. Each year we poll one blog author about his favorite things that happened that year in music, other various applied arts, and general living. This year, 2008, it's Christopher J. "Jack" Knorps, who is responding to us from a supine position on his bed in his parent's house, with his laptop sitting on a little tray which prevents extreme heat from irritating the groin area. This year Mr. Knorps wrote his second novel and accepted a temporary assignment as a proofreader!
Favorite New Songs of the Past Year:
Pretty much whatever songs are on the top 10 albums list I intend to include somewhere in this "interview." If I had to make a top 10 singles list, I would put "Nothing Ever Happened" by Deerhunter at the top of the list. I would also put "Ativan" by Atlas Sound up there. I enjoy "Flashing Lights" by Kanye West. That is a song that is on my iPod shuffle that I listen to though I rarely listen to Graduation. I thought "The Pretender" by the Foo Fighters was a pretty cool song, especially when I saw the video totally randomly on a motel TV the first and only time. I think that is from 2007 though. I haven't consumed enough in 2008, that's my problem. The song "The Lucky Ones" by Mudhoney was a great classic track to come out as if it were in a time capsule from 1992.
Favorite Older Songs at the Moment:
The Germs, because of the previous post here. I am very intrigued by all things Darby Crash. This past year though, I don't know. I seemed to have listened to a lot of Smiths this year, but that is probably true for the last three or four years now. I also listen to New Order a lot and a few of those reissues--like Technique--I really wanted to get but ended up passing on because I didn't want to drop $20 on a CD. The same goes for the new Cure album, whose critical reception didn't excite me enough to make me want to seek it out. That is true for the new Of Montreal album as well. I have listened to Liars a lot this year. All of their albums are better than they seem at first, and I really want to get Drum's Not Dead. I also went through a huge Black Flag phase where I had to get all of their albums while I was living in L.A. One friend in particular hooked me up with In My Head, Loose Nut, Live '84, and Family Man. I always enjoy listening to Sonic Youth and it seems like they haven't put out an album in a while, but two years isn't really that long of a time at all, especially since Thurston put out a solo album and Kim put out a Free Kitten album this year. I have gotten around to realizing why the Slits Cut album is so awesome. I also really got into !!! this year and can't wait to see what they do next, though I really wonder if they can top their previous highs. I think "Me and Giuliani Down By the Schoolyard (Based on a True Story)" may be the best single of the 00's decade, but others may disagree.
Favorite New Band:
I would say Be Your Own Pet but they aren't exactly new and they aren't exactly still extant. I thought These New Puritans were pretty cool. I haven't listened to Fleet Foxes and I might say them if I had.
Favorite Song Ever:
That's a really hard question to answer. There's very few songs I don't get sick of after hearing so many times. Maybe some old long classic song, like David Bowie's "Station to Station" or Velvet Underground's "Sister Ray."
Best Recent Concert:
I didn't go to many shows in 2008, and though the Deerhunter set I saw at the Metro in November was highly notable, nothing compares to seeing My Bloody Valentine live in person. That was at the Aragon Ballroom in Chicago at the end of September. "You Made Me Realise" was everything I hoped it would be. Their setlist may not have been my ideal MBV setlist but it was hardly unsatisfying. And the mystique, the way the show was carried out, totally didn't make me feel like I was being put on, or that MBV were selling out doing a reunion tour, even if it cost me $50 to see it.
Last Great Film I saw:
Also, not many movies in 2008. Many On-Demand and on cable and even a few rented on DVD, but in the theaters, it would have to be Synecdoche, NY. A very bizarre movie that I'm not sure I would watch again. Okay I might watch it again under the influence of particular chemicals. Obviously it is a great script from Charlie Kaufman, though there has been some question about his directorial skill, as this is his debut in that field. This film is not a classic masterpiece, but it is great for being things that all other movies never try to be. It is completely original and there is nothing else like it. Philip Seymour Hoffman totally carries the film, though I would be lying if I didn't admit I got a little bored towards the end.
Last Great Book I read:
Well, Lexicon Devil really moved me more than anything recently. Of all the books reviewed on this blog, I will have to say that in 2008, obviously the two big Thomas Mann books astounded me entirely--Doctor Faustus and Buddenbrooks. Dead Boys by Richard Lange was the best recommendation from a friend, the best thing I borrowed, the best "discovery" I made. It had been a long time since a book of short stories had captivated me. Desolation Angels reminded me of how great Keroauc could be. I was surprised to find that it might be my favorite book by him, so far at least.
Favorite Piece of Musical Equipment:
My $75 guitar and $25 amp. My guitar has been restrung by a bunch of random music store employees because I don't know how to do that, and has probably cost about $50-$75 in the process. But I have had these for over four years now and they supposedly still work, even though they are sitting in my garage and I haven't played them in about five months. It was great to have my little bungalow-type studio in Silverlake where my neighbors were almost entirely cool with me practicing whenever I wanted. But I'm really bad about trying to bring my guitar playing up to an ability where I can say, "I actually know how to play." I may never know actually how to play, but making noise for the sake of it is an unique pleasure that many others may not understand. I still wish I could be in a band somehow though. It's just as hard as trying to make it as a novelist, though. But I think your individuality is able to stand out more in music.
Favorite Record Shop:
Tie. Amoeba Records in L.A. and Reckless Records in Chicago. Amoeba is like the Disneyland of record stores. You go there and you just know you're going to have fun. Reckless is not as fun but you still feel very cool whenever you go into any of their 3 locations in the city. I like the Wicker Park one best for feeling cool. I am not sure which branch inspired the film High Fidelity, but probably that one.
Best Purchase of this Past Year:
Nothing. I really cannot think of a single purchase that was useful or worthwhile or made me particularly happy. Probably some clothes or something. My most recent haircut. This laptop tray. My new pair of headphones. My new replacement cell phone which was supposedly free but which they charged me $10 for anyways.
Best Thing I did this Year:
Went to Las Vegas for the first time. That may not be the best but the first night I spent there was very eye-opening in ways I was not expecting. I went to the beach in Malibu one day in July after living in L.A. for about nine months. That was a worthwile and good thing to do. You cannot complain about beaches in Malibu. I also went to a Cubs spring-training game in Scottsdale, AZ, and though I have problems with a particular bar there, seeing a Cubs game at a home venue outside of Wrigley Field reminds me just how great the Cubs fans are, and how no matter where they play, they will always be the most beloved team in sports. Their choke in 2008 was not the best thing, but it was exciting to see them get to the point where they choked. I'm also glad I saw Dodgers, Angels, and Lakers games while in L.A.
Favorite Music Venue:
Spaceland in L.A. because I could walk there from my apartment and because they had this weird fishbowl type room where you could smoke inside (even though it's usually not so bad to have to go outside in that climate). The Echo and Echoplex were also pretty much comparably cool though.
Favorite TV Show at the Moment:
Intervention on A & E because I like the reality aspect of it and I like seeing people talk about why they need to do drugs. It is helpful from a rehabilitative standpoint, but I have to admit there is a bit of a perverse vicarious thrill in watching them fulfill their need, and that probably doesn't necessarily want to make the viewer stop doing drugs. It's always interesting when there's a new episode, they're rarely disappointing. But aside from that....Family Feud or Who Wants to be a Millionaire? or Jeopardy! Or weird cable shows about people running from the cops--I saw this show called "Why I Ran" once and that was pretty sweet.
Favorite Video Game at the Moment:
Zelda: The Twilight Princess on Wii, which I am still in the midst of and have been playing for the last several months very rarely. It's an amazing game, but it gets harder and more frustrating as you go on, and that maybe contributes to me not wanting to play as much. I really like the Wii News Network--I like doing the slideshow.
Favorite Radio Station:
Indie 103 in L.A. I also like Chicago Public Radio on 91.5. XRT in Chicago (93.1?) is pretty cool too. I bought the new TV on the Radio album when I heard them play a song from it on that station.
My Ringtone:
Is the annoying basic Verizon one on my new phone. I should change it to something cooler. There are a few soothing ones. I wanted to get a real song for my ringtone but I was too cheap to buy the LG Chocolate. I think "Blindness" by the Fall would be a cool ringtone.
Top 10 Records of 2008:
10) These New Puritans - Beat Pyramid
9) Fucked Up - The Chemistry of Common Life
8) REM - Accelerate
7) Atlas Sound - Let the Blind Lead Those Who Can See but Cannot Feel
6) Stephen Malkmus and the Jicks - Real Emotional Trash
5) Portishead - Third
4) Be Your Own Pet - Get Awkward
3) TV on the Radio - Dear Science
2) No Age - Nouns
1) Deerhunter - Microcastle/Weird Era Cont.
Honorable Mention goes to Scarlett Johansson. While her album was not necessarily revelatory, it is probably one of the best albums to be put out by an actress, and was therefore "surprisingly good." Zooey Deschanel does not count as her album with M. Ward is probably much better.
The Breeders also deserve a nod for "Mountain Battles."
Wolf Parade deserve a few props for "At Mount Zoomer."
Silver Jews "Lookout Mountain, Lookout Sea" is surprisingly strong, though admittedly not as appealing as "Tanglewood Numbers" or "American Water."
Islands' "Arm's Way" is front-loaded like crazy, but ambitious and worthwhile.
The Hold Steady's "Stay Positive" continues their trend of albums steadily decreasing in quality, though still being very excellent on the whole.
Vampire Weekend is bigger than Arcade Fire. I think.
Times New Viking "Rip it Off" is not the #39 album of the year (as it is according to Pitchfork) but they are a better live band than a treble-y recorded one. See them live, wait until they release their "Do the Collapse" to spend money on an album by them.
I really want to hear Fleet Foxes and Titus Andronicus. And I also want to get the new Of Montreal album.
And as for 2009, the new Animal Collective will probably be the first purchase.
In recompense, I would like to offer a Best of 2008 List offered up in the Pitchfork style, as if I were a celebrity they wanted to query. Complete with a biographical profile.
Welcome to the first and only edition (for now) of Flying Houses Year-End Guest List. Each year we poll one blog author about his favorite things that happened that year in music, other various applied arts, and general living. This year, 2008, it's Christopher J. "Jack" Knorps, who is responding to us from a supine position on his bed in his parent's house, with his laptop sitting on a little tray which prevents extreme heat from irritating the groin area. This year Mr. Knorps wrote his second novel and accepted a temporary assignment as a proofreader!
Favorite New Songs of the Past Year:
Pretty much whatever songs are on the top 10 albums list I intend to include somewhere in this "interview." If I had to make a top 10 singles list, I would put "Nothing Ever Happened" by Deerhunter at the top of the list. I would also put "Ativan" by Atlas Sound up there. I enjoy "Flashing Lights" by Kanye West. That is a song that is on my iPod shuffle that I listen to though I rarely listen to Graduation. I thought "The Pretender" by the Foo Fighters was a pretty cool song, especially when I saw the video totally randomly on a motel TV the first and only time. I think that is from 2007 though. I haven't consumed enough in 2008, that's my problem. The song "The Lucky Ones" by Mudhoney was a great classic track to come out as if it were in a time capsule from 1992.
Favorite Older Songs at the Moment:
The Germs, because of the previous post here. I am very intrigued by all things Darby Crash. This past year though, I don't know. I seemed to have listened to a lot of Smiths this year, but that is probably true for the last three or four years now. I also listen to New Order a lot and a few of those reissues--like Technique--I really wanted to get but ended up passing on because I didn't want to drop $20 on a CD. The same goes for the new Cure album, whose critical reception didn't excite me enough to make me want to seek it out. That is true for the new Of Montreal album as well. I have listened to Liars a lot this year. All of their albums are better than they seem at first, and I really want to get Drum's Not Dead. I also went through a huge Black Flag phase where I had to get all of their albums while I was living in L.A. One friend in particular hooked me up with In My Head, Loose Nut, Live '84, and Family Man. I always enjoy listening to Sonic Youth and it seems like they haven't put out an album in a while, but two years isn't really that long of a time at all, especially since Thurston put out a solo album and Kim put out a Free Kitten album this year. I have gotten around to realizing why the Slits Cut album is so awesome. I also really got into !!! this year and can't wait to see what they do next, though I really wonder if they can top their previous highs. I think "Me and Giuliani Down By the Schoolyard (Based on a True Story)" may be the best single of the 00's decade, but others may disagree.
Favorite New Band:
I would say Be Your Own Pet but they aren't exactly new and they aren't exactly still extant. I thought These New Puritans were pretty cool. I haven't listened to Fleet Foxes and I might say them if I had.
Favorite Song Ever:
That's a really hard question to answer. There's very few songs I don't get sick of after hearing so many times. Maybe some old long classic song, like David Bowie's "Station to Station" or Velvet Underground's "Sister Ray."
Best Recent Concert:
I didn't go to many shows in 2008, and though the Deerhunter set I saw at the Metro in November was highly notable, nothing compares to seeing My Bloody Valentine live in person. That was at the Aragon Ballroom in Chicago at the end of September. "You Made Me Realise" was everything I hoped it would be. Their setlist may not have been my ideal MBV setlist but it was hardly unsatisfying. And the mystique, the way the show was carried out, totally didn't make me feel like I was being put on, or that MBV were selling out doing a reunion tour, even if it cost me $50 to see it.
Last Great Film I saw:
Also, not many movies in 2008. Many On-Demand and on cable and even a few rented on DVD, but in the theaters, it would have to be Synecdoche, NY. A very bizarre movie that I'm not sure I would watch again. Okay I might watch it again under the influence of particular chemicals. Obviously it is a great script from Charlie Kaufman, though there has been some question about his directorial skill, as this is his debut in that field. This film is not a classic masterpiece, but it is great for being things that all other movies never try to be. It is completely original and there is nothing else like it. Philip Seymour Hoffman totally carries the film, though I would be lying if I didn't admit I got a little bored towards the end.
Last Great Book I read:
Well, Lexicon Devil really moved me more than anything recently. Of all the books reviewed on this blog, I will have to say that in 2008, obviously the two big Thomas Mann books astounded me entirely--Doctor Faustus and Buddenbrooks. Dead Boys by Richard Lange was the best recommendation from a friend, the best thing I borrowed, the best "discovery" I made. It had been a long time since a book of short stories had captivated me. Desolation Angels reminded me of how great Keroauc could be. I was surprised to find that it might be my favorite book by him, so far at least.
Favorite Piece of Musical Equipment:
My $75 guitar and $25 amp. My guitar has been restrung by a bunch of random music store employees because I don't know how to do that, and has probably cost about $50-$75 in the process. But I have had these for over four years now and they supposedly still work, even though they are sitting in my garage and I haven't played them in about five months. It was great to have my little bungalow-type studio in Silverlake where my neighbors were almost entirely cool with me practicing whenever I wanted. But I'm really bad about trying to bring my guitar playing up to an ability where I can say, "I actually know how to play." I may never know actually how to play, but making noise for the sake of it is an unique pleasure that many others may not understand. I still wish I could be in a band somehow though. It's just as hard as trying to make it as a novelist, though. But I think your individuality is able to stand out more in music.
Favorite Record Shop:
Tie. Amoeba Records in L.A. and Reckless Records in Chicago. Amoeba is like the Disneyland of record stores. You go there and you just know you're going to have fun. Reckless is not as fun but you still feel very cool whenever you go into any of their 3 locations in the city. I like the Wicker Park one best for feeling cool. I am not sure which branch inspired the film High Fidelity, but probably that one.
Best Purchase of this Past Year:
Nothing. I really cannot think of a single purchase that was useful or worthwhile or made me particularly happy. Probably some clothes or something. My most recent haircut. This laptop tray. My new pair of headphones. My new replacement cell phone which was supposedly free but which they charged me $10 for anyways.
Best Thing I did this Year:
Went to Las Vegas for the first time. That may not be the best but the first night I spent there was very eye-opening in ways I was not expecting. I went to the beach in Malibu one day in July after living in L.A. for about nine months. That was a worthwile and good thing to do. You cannot complain about beaches in Malibu. I also went to a Cubs spring-training game in Scottsdale, AZ, and though I have problems with a particular bar there, seeing a Cubs game at a home venue outside of Wrigley Field reminds me just how great the Cubs fans are, and how no matter where they play, they will always be the most beloved team in sports. Their choke in 2008 was not the best thing, but it was exciting to see them get to the point where they choked. I'm also glad I saw Dodgers, Angels, and Lakers games while in L.A.
Favorite Music Venue:
Spaceland in L.A. because I could walk there from my apartment and because they had this weird fishbowl type room where you could smoke inside (even though it's usually not so bad to have to go outside in that climate). The Echo and Echoplex were also pretty much comparably cool though.
Favorite TV Show at the Moment:
Intervention on A & E because I like the reality aspect of it and I like seeing people talk about why they need to do drugs. It is helpful from a rehabilitative standpoint, but I have to admit there is a bit of a perverse vicarious thrill in watching them fulfill their need, and that probably doesn't necessarily want to make the viewer stop doing drugs. It's always interesting when there's a new episode, they're rarely disappointing. But aside from that....Family Feud or Who Wants to be a Millionaire? or Jeopardy! Or weird cable shows about people running from the cops--I saw this show called "Why I Ran" once and that was pretty sweet.
Favorite Video Game at the Moment:
Zelda: The Twilight Princess on Wii, which I am still in the midst of and have been playing for the last several months very rarely. It's an amazing game, but it gets harder and more frustrating as you go on, and that maybe contributes to me not wanting to play as much. I really like the Wii News Network--I like doing the slideshow.
Favorite Radio Station:
Indie 103 in L.A. I also like Chicago Public Radio on 91.5. XRT in Chicago (93.1?) is pretty cool too. I bought the new TV on the Radio album when I heard them play a song from it on that station.
My Ringtone:
Is the annoying basic Verizon one on my new phone. I should change it to something cooler. There are a few soothing ones. I wanted to get a real song for my ringtone but I was too cheap to buy the LG Chocolate. I think "Blindness" by the Fall would be a cool ringtone.
Top 10 Records of 2008:
10) These New Puritans - Beat Pyramid
9) Fucked Up - The Chemistry of Common Life
8) REM - Accelerate
7) Atlas Sound - Let the Blind Lead Those Who Can See but Cannot Feel
6) Stephen Malkmus and the Jicks - Real Emotional Trash
5) Portishead - Third
4) Be Your Own Pet - Get Awkward
3) TV on the Radio - Dear Science
2) No Age - Nouns
1) Deerhunter - Microcastle/Weird Era Cont.
Honorable Mention goes to Scarlett Johansson. While her album was not necessarily revelatory, it is probably one of the best albums to be put out by an actress, and was therefore "surprisingly good." Zooey Deschanel does not count as her album with M. Ward is probably much better.
The Breeders also deserve a nod for "Mountain Battles."
Wolf Parade deserve a few props for "At Mount Zoomer."
Silver Jews "Lookout Mountain, Lookout Sea" is surprisingly strong, though admittedly not as appealing as "Tanglewood Numbers" or "American Water."
Islands' "Arm's Way" is front-loaded like crazy, but ambitious and worthwhile.
The Hold Steady's "Stay Positive" continues their trend of albums steadily decreasing in quality, though still being very excellent on the whole.
Vampire Weekend is bigger than Arcade Fire. I think.
Times New Viking "Rip it Off" is not the #39 album of the year (as it is according to Pitchfork) but they are a better live band than a treble-y recorded one. See them live, wait until they release their "Do the Collapse" to spend money on an album by them.
I really want to hear Fleet Foxes and Titus Andronicus. And I also want to get the new Of Montreal album.
And as for 2009, the new Animal Collective will probably be the first purchase.
Friday, December 26, 2008
Lexicon Devil: The Fast Times and Short Life of Darby Crash and the Germs - Brendan Mullen with Don Bolles and Adam Parfrey
I got Lexicon Devil for Christmas and just finished reading it an hour ago (6:00 PM, December 26, if I don't finish this and post it until tomorrow, the truth must be told). That means I was only in possession of it for about 30 hours before finishing it. That time includes a holiday gathering with cousins, nine or so hours of sleep, a couple hours at a mall, and a couple hours watching The Dark Knight on DVD, another Christmas gift. Basically all the other time was spent reading this book, and few other times in my life have I been so utterly thrilled by what I was reading that all other outside time became secondary. That is when literature is taken to new heights and the reason for my wanting to get involved in it reveals itself. This is the best book about music since Our Band Could Be Your Life, though it has been out for six years now, which is only another year or so more than that other thoroughly enjoyable volume. But make no mistake: Lexicon Devil is the height of the oral history genre, surpassing Please Kill Me and even the ridiculously exhaustive Nirvana text by Everett True. Darby Crash and Kurt Cobain have a few things in common, but as elusive and mysterious as Cobain may seem, Crash is ultimately even more legendary for the simple fact that he was not as famous. But they both killed themselves, they both loved heroin, they both loved Queen, and they both played with Pat Smear.
Anecdote #1: I almost bought Lexicon Devil from Circus of Books in Silverlake right after I first moved there. It was my first day touring the "Sunset strip" of the neighborhood on foot and this was the only interesting book I could find in that store. I decided against it and I was a fucking idiot for doing so! If I had read this book while living in L.A., it might have changed my life. I at least would have taken a few tourist side-trips.
Anecdote #2: When this book was referenced at the beginning of Palahniuk's Rant, I instantly wanted to read it again. There are a couple similarities between the protagonist of Rant and Crash. #1--both are begged to leave by their high schools, and are awarded diplomas the same way, and #2--both like to stick their arms down holes. In one interview Crash is asked "what was your first sexual experience?" and he answers, "When I stuck my arm down a garbage disposal."
That said Palahniuk does not borrow any more characteristics from this real-life icon. I really want to see What We Do is Secret now--which is I think a fictional re-creation of the story of his life--and I've always wanted to see The Decline of Western Civilization and have not been lucky enough to do so yet. This book is absolutely wonderful and if you are at all intrigued by the Germs, or punk bands in general, you will love this book.
The easiest place to start is with the Germs music itself. I only have "MIA" on my iPod, and truthfully it was not the easiest batch of songs to get into. At times they just sound awful and unlistenable, such as on the very poorly recorded "Sex Boy." However, there were more compelling moments. The song "Lexicon Devil" itself is probably their most famous single. "Circle One" and "No God" are great songs. "Forming" is iconic for being their first song and most self-fulfilling. Looking at the track listing of their album G.I., I would recommend that people get it. "What We Do is Secret" and "Communist Eyes" and "Richie Dagger's Crime" are all very good too. But that is about it. There are really not very many songs in their catalog.
It is difficult to situate them into their proper place in their influence of the American punk rock movement. They came after the New York punk bands like the Ramones and Television and Richard Hell, but only by a couple years. They did not like those bands as much as other people. They started in 1977 and finished in 1980. They came up around the same time as X, and throughout this book X are held up as their older, more mature mentors. They cared much more about sounding clean and crisp. They were much more professional.
The Germs came before Black Flag and the book does a good job of explaining the difference between the South Bay scene and the Hollywood scene which the Germs were a part of. There are many interesting and memorable characters in this book, but none more than Crash himself. Some of the anecdotes offered are really twisted and some are the most hilarious things I've ever read. But Crash is undeniable as a superstar performer.
He was born in 1958 and died in 1980 on the same day as John Lennon. He was raised as a Scientologist and attended an experimental high school where he started doing acid when he was 14 or so. He was friends with Pat Smear from about that age and started up the band more as a gang than as a musical entity. They made up their own t-shirts for the band before they ever rehearsed. Belinda Carlisle was their first drummer, though she never even really sat behind a drum kit for them, and I was wondering why her name sounded so familiar and later I realized it was because she was the only person in the scene to get truly mega-famous as the lead singer of the Go Go's. Joan Jett also figures somewhat heavily in the story as the producer of G.I. and as a maker of "piss-sicles." But they do finally start playing music and at the beginning their shows are more about the spectacle of Crash's onstage unpredictability, but later they do actually earn rave reviews for their first LP. One review says that it is the best album to come out of L.A. since the Doors did "L.A. Woman." Personally, I feel Los Angeles by X is a stronger statement than G.I. by the Germs, but the Germs are clearly trying to take their art to a higher and more surreal and less explicable level.
This book is mostly about playing shows and getting kicked out of places and vandalizing things and living a punk lifestyle. Darby Crash never had any money and would always ask people to give things to him, and they would. He also steadily got into heavier and heavier drugs. The stories about his last couple weeks of life are incredibly moving. The biggest bombshell that gets dropped in this book is about Crash's homosexuality that he felt he needed to hide due to the attitude of the L.A. punk scene at the time. Some of the discussions about this topic make up the most compelling portions of the book. I certainly had never heard anything about that before, but then again I didn't know much about Darby Crash beyond, "He killed himself when he was really young."
Although it may sound like this book is kind of dumb, Crash is actually the author of some very poetic lyrics, and many of the intellectual undercurrents of the music are discussed in very clear terms. One of the segments I found particularly trenchant was this offering:
Rik L. Rik: Darby found Spengler's Decline of the West interesting because of his theory that there is no ad infinitum chronological progression with cultures. In the West people think of culture in terms of each century building on the last and becoming more and more advanced, but Spengler disagreed. He saw each culture living a cycle and then dying. Then the next culture comes along and has exactly the same kind of cycle and dies. Each culture has three phases...where it starts out primitive followed by a glorious epoch...then it goes into decline and finally dies after a period of crazed decadence and general degeneracy of the masses. (127)
From there, the story goes to Darby's love of fascism, which may or may not be influenced by Bowie's pronounced love of that same concept. To be sure, it is weird, but it is bold to state and interesting to think about. Darby Crash is super obsessed with David Bowie. One of the funniest parts is when he is talking to his friend Will Amato about how he cracked the code of the album title Diamond Dogs. He says, "What are a girl's best friend?" And then he says, "What is man's best friend?" Little parts like that are what make this book great.
I don't even know what else I want to talk about in this book! I guess just that I read it super fast, faster than anything else I can ever remember reading that was this long (294 pages), and it's a great book for anyone that wants to be in a band and it's a great book for anyone that wants to spread true anarchy. Crash is an icon and this book perfectly captures every reason why. An absolute pleasure and an absolute treasure.
Anecdote #1: I almost bought Lexicon Devil from Circus of Books in Silverlake right after I first moved there. It was my first day touring the "Sunset strip" of the neighborhood on foot and this was the only interesting book I could find in that store. I decided against it and I was a fucking idiot for doing so! If I had read this book while living in L.A., it might have changed my life. I at least would have taken a few tourist side-trips.
Anecdote #2: When this book was referenced at the beginning of Palahniuk's Rant, I instantly wanted to read it again. There are a couple similarities between the protagonist of Rant and Crash. #1--both are begged to leave by their high schools, and are awarded diplomas the same way, and #2--both like to stick their arms down holes. In one interview Crash is asked "what was your first sexual experience?" and he answers, "When I stuck my arm down a garbage disposal."
That said Palahniuk does not borrow any more characteristics from this real-life icon. I really want to see What We Do is Secret now--which is I think a fictional re-creation of the story of his life--and I've always wanted to see The Decline of Western Civilization and have not been lucky enough to do so yet. This book is absolutely wonderful and if you are at all intrigued by the Germs, or punk bands in general, you will love this book.
The easiest place to start is with the Germs music itself. I only have "MIA" on my iPod, and truthfully it was not the easiest batch of songs to get into. At times they just sound awful and unlistenable, such as on the very poorly recorded "Sex Boy." However, there were more compelling moments. The song "Lexicon Devil" itself is probably their most famous single. "Circle One" and "No God" are great songs. "Forming" is iconic for being their first song and most self-fulfilling. Looking at the track listing of their album G.I., I would recommend that people get it. "What We Do is Secret" and "Communist Eyes" and "Richie Dagger's Crime" are all very good too. But that is about it. There are really not very many songs in their catalog.
It is difficult to situate them into their proper place in their influence of the American punk rock movement. They came after the New York punk bands like the Ramones and Television and Richard Hell, but only by a couple years. They did not like those bands as much as other people. They started in 1977 and finished in 1980. They came up around the same time as X, and throughout this book X are held up as their older, more mature mentors. They cared much more about sounding clean and crisp. They were much more professional.
The Germs came before Black Flag and the book does a good job of explaining the difference between the South Bay scene and the Hollywood scene which the Germs were a part of. There are many interesting and memorable characters in this book, but none more than Crash himself. Some of the anecdotes offered are really twisted and some are the most hilarious things I've ever read. But Crash is undeniable as a superstar performer.
He was born in 1958 and died in 1980 on the same day as John Lennon. He was raised as a Scientologist and attended an experimental high school where he started doing acid when he was 14 or so. He was friends with Pat Smear from about that age and started up the band more as a gang than as a musical entity. They made up their own t-shirts for the band before they ever rehearsed. Belinda Carlisle was their first drummer, though she never even really sat behind a drum kit for them, and I was wondering why her name sounded so familiar and later I realized it was because she was the only person in the scene to get truly mega-famous as the lead singer of the Go Go's. Joan Jett also figures somewhat heavily in the story as the producer of G.I. and as a maker of "piss-sicles." But they do finally start playing music and at the beginning their shows are more about the spectacle of Crash's onstage unpredictability, but later they do actually earn rave reviews for their first LP. One review says that it is the best album to come out of L.A. since the Doors did "L.A. Woman." Personally, I feel Los Angeles by X is a stronger statement than G.I. by the Germs, but the Germs are clearly trying to take their art to a higher and more surreal and less explicable level.
This book is mostly about playing shows and getting kicked out of places and vandalizing things and living a punk lifestyle. Darby Crash never had any money and would always ask people to give things to him, and they would. He also steadily got into heavier and heavier drugs. The stories about his last couple weeks of life are incredibly moving. The biggest bombshell that gets dropped in this book is about Crash's homosexuality that he felt he needed to hide due to the attitude of the L.A. punk scene at the time. Some of the discussions about this topic make up the most compelling portions of the book. I certainly had never heard anything about that before, but then again I didn't know much about Darby Crash beyond, "He killed himself when he was really young."
Although it may sound like this book is kind of dumb, Crash is actually the author of some very poetic lyrics, and many of the intellectual undercurrents of the music are discussed in very clear terms. One of the segments I found particularly trenchant was this offering:
Rik L. Rik: Darby found Spengler's Decline of the West interesting because of his theory that there is no ad infinitum chronological progression with cultures. In the West people think of culture in terms of each century building on the last and becoming more and more advanced, but Spengler disagreed. He saw each culture living a cycle and then dying. Then the next culture comes along and has exactly the same kind of cycle and dies. Each culture has three phases...where it starts out primitive followed by a glorious epoch...then it goes into decline and finally dies after a period of crazed decadence and general degeneracy of the masses. (127)
From there, the story goes to Darby's love of fascism, which may or may not be influenced by Bowie's pronounced love of that same concept. To be sure, it is weird, but it is bold to state and interesting to think about. Darby Crash is super obsessed with David Bowie. One of the funniest parts is when he is talking to his friend Will Amato about how he cracked the code of the album title Diamond Dogs. He says, "What are a girl's best friend?" And then he says, "What is man's best friend?" Little parts like that are what make this book great.
I don't even know what else I want to talk about in this book! I guess just that I read it super fast, faster than anything else I can ever remember reading that was this long (294 pages), and it's a great book for anyone that wants to be in a band and it's a great book for anyone that wants to spread true anarchy. Crash is an icon and this book perfectly captures every reason why. An absolute pleasure and an absolute treasure.
Wednesday, December 24, 2008
Invisible Monsters - Chuck Palahniuk
Well it has taken a little over three months, but now I have read Chuck Palahniuk's entire fictional oeuvre, except for reading Fight Club for the second time. The project was worthwhile, though at times it did feel more tedious than fun. This is not the case for the final book to be reviewed here, Invisible Monsters, however, as it may be near the top of the list I plan to include at the bottom of this review, a commonplace ranking most die-hard Palahniuk fans enjoy concocting.
I do not know if I consider myself a "die-hard," but I will say that I bet few of them have published reviews of each of his novels. I will certainly take a look at Pygmy when it is released. Invisible Monsters is another one of the books that has movie rumors swirling, along with Haunted, Survivor, and Rant, following up Fight Club and Choke. Those two may have been his best two books though Rant is certainly remarkable, in my opinion at least, and Invisible Monsters is arguably the most iconic, perhaps even surpassing Fight Club in its nihilistic glory.
To be sure, Invisible Monsters and Fight Club are the most similar of Palahniuk's novels. Both feature a previously successful protagonist who decides to shake up their lives a bit. This protagonist is actually shot in the same area of the face. Both feature a guru, or alter-ego, that drives the majority of the plot forward. Both are not so much about plot as they are about character. Both contain passages like this one found in Invisible Monsters:
"It's because we're so trapped in our culture, in the being of being human on this planet with the brains we have, and same two arms and two legs everybody has. We're so trapped that any way we could imagine to escape would be just another part of the trap. Anything we want, we're trained to want." (259)
Invisible Monsters is about modeling. It is also about mutilation. It is also about confusion of sexuality and gender. But it is also about adventure. In Fight Club, the adventure may be beating the crap out of one another and in Rant the adventure may be smashing into other cars, but in Invisible Monsters, the adventure is touring elegant homes for sale and stealing drugs out of master bathrooms. That is the majority of the plot.
There is the main character, mostly nameless, finally revealed to be named Shannon ten pages before the close of the novel, often called Daisy St. Patience as a pseudonym. She is a model who experiences a jaw-shattering accident that leaves her voice mute and her face disfigured. She communicates by writing notes, or sometimes comically attempting to speak. She has a best friend named Evie Cottrell, also a model, but a slightly bigger-boned one (I believe she is a size 9 to Shannon's 6). She has a dead gay brother named Shane, who apparently contracted gonorrhea at age 16 and died of AIDS not too long after. She has a boyfriend named Manus who is a police detective and who abandons her after her face is destroyed.
While at the hospital recovering from her accident, which is the opening of the novel and probably the best one Palahniuk has done, she meets Brandy Alexander, who is nearing the end of a year long "Real Life Conditioning" for a sex change operation. Later, she meets Brandy at a hotel and they escape and begin their year or so of being on the road and stealing and selling drugs, along with a male character alternatively named Signor Alfa Romeo, Chase Manhattan, Seth Thomas, or various other clever company names. The story jumps back and forth in time constantly, and nothing much happens except for recounting various incidents in this model's life. That may sound dull but this novel certainly is not.
This strange story allows Palahniuk plenty of soapbox-preaching about the nature of modeling and advertising and consumerism and sexuality. More importantly, the story also allows him to utilize what may be his finest prose to date:
"A sexual reassignment surgery is a miracle for some people, but if you don't want one, it's the ultimate form of self-mutilation." (259)
"You know how you look at ugly hunchback girls, and they are so lucky. Nobody drags them out at night so they can't finish their doctorate thesis papers. They don't get yelled at by fashion photographers if they get infected ingrown bikini hairs. You look at burn victims and think how much time they save not looking in mirrors to check their skin for sun damage.
I wanted the everyday reassurance of being mutilated. The way a crippled deformed birth-defected disfigured girl can drive her car with the windows open and not care how the wind makes her hair look, that's the kind of freedom I was after.
I was tired of staying a lower life form just because of my looks. Trading on them. Cheating. Never getting anything real accomplished, but getting the attention and recognition anyway. Trapped in a beauty ghetto is how I felt. Stereotyped. Robbed of my motivation." (286)
In short, many readers of Palahniuk state this book as being their favorite, and it is not hard to see why. On paper, in synopsis, it does not sound like the most exciting, but once a reader passes page thirty or so, the pull of the prose will carry them to the finish quickly. It is probably the most skillfully written work in his oeuvre, even if some plot twists seem overly obvious. On the whole, a very satisfying work, perhaps not a masterpiece, but a very intriguing book that deserves a Fight Club-size audience.
Top 9 Books by Palahniuk:
9) Snuff (2008)
8) Haunted (2005)
7) Diary (2003)
6) Lullaby (2002)
5) Survivor (1998)
4) Rant (2007)
3) Fight Club (1996)
2) Invisible Monsters (1999)
1) Choke (2001)
I do not know if I consider myself a "die-hard," but I will say that I bet few of them have published reviews of each of his novels. I will certainly take a look at Pygmy when it is released. Invisible Monsters is another one of the books that has movie rumors swirling, along with Haunted, Survivor, and Rant, following up Fight Club and Choke. Those two may have been his best two books though Rant is certainly remarkable, in my opinion at least, and Invisible Monsters is arguably the most iconic, perhaps even surpassing Fight Club in its nihilistic glory.
To be sure, Invisible Monsters and Fight Club are the most similar of Palahniuk's novels. Both feature a previously successful protagonist who decides to shake up their lives a bit. This protagonist is actually shot in the same area of the face. Both feature a guru, or alter-ego, that drives the majority of the plot forward. Both are not so much about plot as they are about character. Both contain passages like this one found in Invisible Monsters:
"It's because we're so trapped in our culture, in the being of being human on this planet with the brains we have, and same two arms and two legs everybody has. We're so trapped that any way we could imagine to escape would be just another part of the trap. Anything we want, we're trained to want." (259)
Invisible Monsters is about modeling. It is also about mutilation. It is also about confusion of sexuality and gender. But it is also about adventure. In Fight Club, the adventure may be beating the crap out of one another and in Rant the adventure may be smashing into other cars, but in Invisible Monsters, the adventure is touring elegant homes for sale and stealing drugs out of master bathrooms. That is the majority of the plot.
There is the main character, mostly nameless, finally revealed to be named Shannon ten pages before the close of the novel, often called Daisy St. Patience as a pseudonym. She is a model who experiences a jaw-shattering accident that leaves her voice mute and her face disfigured. She communicates by writing notes, or sometimes comically attempting to speak. She has a best friend named Evie Cottrell, also a model, but a slightly bigger-boned one (I believe she is a size 9 to Shannon's 6). She has a dead gay brother named Shane, who apparently contracted gonorrhea at age 16 and died of AIDS not too long after. She has a boyfriend named Manus who is a police detective and who abandons her after her face is destroyed.
While at the hospital recovering from her accident, which is the opening of the novel and probably the best one Palahniuk has done, she meets Brandy Alexander, who is nearing the end of a year long "Real Life Conditioning" for a sex change operation. Later, she meets Brandy at a hotel and they escape and begin their year or so of being on the road and stealing and selling drugs, along with a male character alternatively named Signor Alfa Romeo, Chase Manhattan, Seth Thomas, or various other clever company names. The story jumps back and forth in time constantly, and nothing much happens except for recounting various incidents in this model's life. That may sound dull but this novel certainly is not.
This strange story allows Palahniuk plenty of soapbox-preaching about the nature of modeling and advertising and consumerism and sexuality. More importantly, the story also allows him to utilize what may be his finest prose to date:
"A sexual reassignment surgery is a miracle for some people, but if you don't want one, it's the ultimate form of self-mutilation." (259)
"You know how you look at ugly hunchback girls, and they are so lucky. Nobody drags them out at night so they can't finish their doctorate thesis papers. They don't get yelled at by fashion photographers if they get infected ingrown bikini hairs. You look at burn victims and think how much time they save not looking in mirrors to check their skin for sun damage.
I wanted the everyday reassurance of being mutilated. The way a crippled deformed birth-defected disfigured girl can drive her car with the windows open and not care how the wind makes her hair look, that's the kind of freedom I was after.
I was tired of staying a lower life form just because of my looks. Trading on them. Cheating. Never getting anything real accomplished, but getting the attention and recognition anyway. Trapped in a beauty ghetto is how I felt. Stereotyped. Robbed of my motivation." (286)
In short, many readers of Palahniuk state this book as being their favorite, and it is not hard to see why. On paper, in synopsis, it does not sound like the most exciting, but once a reader passes page thirty or so, the pull of the prose will carry them to the finish quickly. It is probably the most skillfully written work in his oeuvre, even if some plot twists seem overly obvious. On the whole, a very satisfying work, perhaps not a masterpiece, but a very intriguing book that deserves a Fight Club-size audience.
Top 9 Books by Palahniuk:
9) Snuff (2008)
8) Haunted (2005)
7) Diary (2003)
6) Lullaby (2002)
5) Survivor (1998)
4) Rant (2007)
3) Fight Club (1996)
2) Invisible Monsters (1999)
1) Choke (2001)
Wednesday, December 17, 2008
Faust - Johann Wolfgang von Goethe
Reviewing a work of prose by Goethe is somewhat redundant. Writing a review of Faust is like writing a review of Romeo and Juliet, or The Odyssey. Those classic texts may be more heavily read than Faust, but they attain roughly similar cultural import. Christopher Marlowe originated the Faust legend in The Tragical Historie of Doctor Faustus in 1604, though it appears that he was inspired by the German chapbook Historia von D. Johann Fausten, published two decades earlier. I have not read Marlowe's version but from the title of the original it appears that Goethe was predestined to put his stamp on the legend, and that his treatment would remain the most enduring.
Oeuvre rule: I have read two other books by Goethe--The Sorrows of Young Werther and Wilhelm Meister's Apprenticeship. The first is the other classic Goethe text, and one that anyone lucky enough to taste the pangs of unrequited love should seek for catharsis, and the other is one of the premiere examples of the German Bildungsroman--the novel exploring a principal character's psychological maturation. In a way, Faust is a combination of the two. Part One features a romantic episode vaguely akin to Werther, with the exception that the playing field is somewhat unfairly tilted in the protagonist's favor this time, and Part Two portrays a spiritual maturation of sorts. But I do not want to give away the ending. Because the ending was not spoiled for me. If I were to have studied Faust in college, the ending probably would have been ruined. If I were to have read anything about Faust online, it probably would have been ruined too, so I will avoid all spoilers.
The play is a "closet drama" which apparently means that it is meant to be read in a book as opposed to seen in a theater. Still, Faust has been performed a handul of times, and what an experience it would be! One recent staging listed on Wikipedia occurred in 2000 with the famous German actor Bruno Ganz in the title role and an estimated running time of 21 hours! In the text version I read, Faust comes in at 293 pages, so it is not overwhelmingly long, but it would be hard to imagine reading it in one sitting.
Faust opens up with a rather postmodern scene, featuring the Director, the Poet, and the Clown, all discussing their allegorical roles as they relate to the composition of an artwork. Their witty banter opens up the play on a very light note, and indeed much of the rest of the play is quite comic. I am not sure how to categorize this play but it seems to me more comic than tragic. This scene is quite apart from the rest of the play, and quite short. There is next a short scene taking place in Heaven which is quite funny, and then the next scene introduces the character of Faust, and his first encounter with "spirits." We meet a colleague of his whom he vaguely scorns, Wagner, and they walk amongst the townsfolk during an Easter celebration, and are followed home by a poodle. Faust seems to know that this poodle is no ordinary dog, and once taken home into his study, the poodle transforms into the play's other principal character, Mephistopheles, certainly one of the most classic characters of all time. One would be hard pressed to pick the better depiction of the "evil force" between Goethe's bargainer and Milton's rebel angel, but in my opinion, for being much easier to identify with on a human level, Mephistopheles is the choice.
The usual elements of the legend are introduced here--Faust's desire to reach the heights of human experience and attain ultimate knowledge, and his willingness to commit his soul to Hell for the privilege. His wish is soon granted, and some of the early scenes with Mephistopheles are very humorous, when he claims that he can't do absolutely everything for Faust. After their first meeting, he asks Faust to open the door for him, because he has to exit the same way he has entered. On his second visit, Faust has to tell him to "come in" three times before he actually can. But soon their bargain is made and Mephistopheles first attempts to show Faust how to "be one with the people" which involves going out to a bar. Then there are a couple weird scenes with apes and witches, and finally the entrance of Gretchen, the object of Faust's desire. The way that Mephistopheles arranges for them to meet up is another instance of the hilarity in the play. But the fate of Gretchen and Faust's affair is one of the saddest moments of the play as well, and brings Part One to a thunderous end.
Part Two definitely branches out a lot. There are five acts in it, as compared to one act in Part One, and it is nearly twice as long. Each act is pretty much an episode in Faust's continuing quest for supreme knowledge, and they often become quite bizarre. For a while you may think you have been transported into an Ancient Greek epic during Part Two.
Act I is quite lively, with an emperor whose fool has just died, or become incapacitated by drink. Faust takes over as magician in the fool's place and greatly ingratiates himself to the emperor. Act I is the most political part of the play, with many opinions on the proper governing of a state. There is even a passage which may speak to one of the current crises in America circa 2008:
Mephistopheles:
Wherever you go in this world there's always a shortage of something. It might be this, it might be that. Here it's money we're short of. Now you can't just pick up money from the floor. But there's nothing sunk so deep we can't get hold of it, if we use our wits. There's gold, coined or uncoined, under old walls or in the belly of the hills. And if you ask me who is to unearth it: An intelligent man using the brains that nature gave him.
Eventually the two provide the emperor and his kingdom with enormous treasure that is actually fake paper money, but is never really acknowledged as such. There is a great festival and gathering of fantastic spirits that Faust orchestrates, which also has a short but hilarious and weird tangent that touches on and perhaps predicts a literary craze in 2008:
The herald introduces various poets, poets of nature, court poets, love poets, sweet or passionate. In the pressure of competition none lets the other speak. But one of them gets a word in
Satirical Poet
Do you know what would really delight me as a poet? To write and recite what no one wants to hear.
The night and graveyard poets beg to be excused, because they are having a most interesting conversation with a newly arrived vampire, which might lead to a new form of poetry. The herald has no choice but to agree and he fills the gap by calling on Greek mythology which, while in modern costume, remains true to character and retains its appeal.
Act II features the Peneios, which is a weird mythological place somewhat similar to Hades, or the Inferno, populated by Griffins and Sphinxes. Faust is temporarily put into a coma state due to a visit to the Mothers, which are the "true forms" that will explain how he can meet Helen of Troy, which is his latest idea. Act II is very bizarre, and also features a scene with Wagner, who has been changed somewhat by Faust's disappearance. There is also the curious character of Homonculus, which is like a lightning-bug trapped in a jar, who explains that it is a human who is waiting to be born.
Act III is the "Helen Segment" which writes a new chapter in Greek literature many years after its proliferation. It is a self-contained episode, as is Act IV, which features the return of the emperor from Act I, and is the section of the play devoted to the investigation of war. Finally, Act V brings the work to a powerful and surprising close. Act V is probably the most compelling single part in the entire play, particularly Faust's and Mephistopheles's closing passages. The very end of the play is especially bizarre, and exeunts on a gracious and mysterious note:
Chorus Mysticus
Transitory things are symbolical only. Here the inadequate finds its fulfilment. The not expressible is here made manifest. The eternal in woman is the gleam we follow.
A review of Thomas Mann's Doctor Faustus kickstarted this blog, and it would perfect in a way if Goethe's Faust could end it, but aside from that dark thought, it bears mentioning that I found Mann's more entertaining on the whole, but wholly different. Adrian Leverkuhn and Faust are not similar characters. Leverkuhn barely speaks, and Faust is quite voluble at times. The section with "Mephistopheles" is handled with supreme care and brilliance by Mann, and that is really the only part that is comparable between the two. Both should be read by anyone who professes to love literature, and I should probably read Marlowe's version next. Mann's is longer, and more traditional as a novel than Goethe's is as a play. For its otherworldliness and its indefinability however, Faust will certainly remain one of the most impressive documents mankind has had to offer until the end of time.
Oeuvre rule: I have read two other books by Goethe--The Sorrows of Young Werther and Wilhelm Meister's Apprenticeship. The first is the other classic Goethe text, and one that anyone lucky enough to taste the pangs of unrequited love should seek for catharsis, and the other is one of the premiere examples of the German Bildungsroman--the novel exploring a principal character's psychological maturation. In a way, Faust is a combination of the two. Part One features a romantic episode vaguely akin to Werther, with the exception that the playing field is somewhat unfairly tilted in the protagonist's favor this time, and Part Two portrays a spiritual maturation of sorts. But I do not want to give away the ending. Because the ending was not spoiled for me. If I were to have studied Faust in college, the ending probably would have been ruined. If I were to have read anything about Faust online, it probably would have been ruined too, so I will avoid all spoilers.
The play is a "closet drama" which apparently means that it is meant to be read in a book as opposed to seen in a theater. Still, Faust has been performed a handul of times, and what an experience it would be! One recent staging listed on Wikipedia occurred in 2000 with the famous German actor Bruno Ganz in the title role and an estimated running time of 21 hours! In the text version I read, Faust comes in at 293 pages, so it is not overwhelmingly long, but it would be hard to imagine reading it in one sitting.
Faust opens up with a rather postmodern scene, featuring the Director, the Poet, and the Clown, all discussing their allegorical roles as they relate to the composition of an artwork. Their witty banter opens up the play on a very light note, and indeed much of the rest of the play is quite comic. I am not sure how to categorize this play but it seems to me more comic than tragic. This scene is quite apart from the rest of the play, and quite short. There is next a short scene taking place in Heaven which is quite funny, and then the next scene introduces the character of Faust, and his first encounter with "spirits." We meet a colleague of his whom he vaguely scorns, Wagner, and they walk amongst the townsfolk during an Easter celebration, and are followed home by a poodle. Faust seems to know that this poodle is no ordinary dog, and once taken home into his study, the poodle transforms into the play's other principal character, Mephistopheles, certainly one of the most classic characters of all time. One would be hard pressed to pick the better depiction of the "evil force" between Goethe's bargainer and Milton's rebel angel, but in my opinion, for being much easier to identify with on a human level, Mephistopheles is the choice.
The usual elements of the legend are introduced here--Faust's desire to reach the heights of human experience and attain ultimate knowledge, and his willingness to commit his soul to Hell for the privilege. His wish is soon granted, and some of the early scenes with Mephistopheles are very humorous, when he claims that he can't do absolutely everything for Faust. After their first meeting, he asks Faust to open the door for him, because he has to exit the same way he has entered. On his second visit, Faust has to tell him to "come in" three times before he actually can. But soon their bargain is made and Mephistopheles first attempts to show Faust how to "be one with the people" which involves going out to a bar. Then there are a couple weird scenes with apes and witches, and finally the entrance of Gretchen, the object of Faust's desire. The way that Mephistopheles arranges for them to meet up is another instance of the hilarity in the play. But the fate of Gretchen and Faust's affair is one of the saddest moments of the play as well, and brings Part One to a thunderous end.
Part Two definitely branches out a lot. There are five acts in it, as compared to one act in Part One, and it is nearly twice as long. Each act is pretty much an episode in Faust's continuing quest for supreme knowledge, and they often become quite bizarre. For a while you may think you have been transported into an Ancient Greek epic during Part Two.
Act I is quite lively, with an emperor whose fool has just died, or become incapacitated by drink. Faust takes over as magician in the fool's place and greatly ingratiates himself to the emperor. Act I is the most political part of the play, with many opinions on the proper governing of a state. There is even a passage which may speak to one of the current crises in America circa 2008:
Mephistopheles:
Wherever you go in this world there's always a shortage of something. It might be this, it might be that. Here it's money we're short of. Now you can't just pick up money from the floor. But there's nothing sunk so deep we can't get hold of it, if we use our wits. There's gold, coined or uncoined, under old walls or in the belly of the hills. And if you ask me who is to unearth it: An intelligent man using the brains that nature gave him.
Eventually the two provide the emperor and his kingdom with enormous treasure that is actually fake paper money, but is never really acknowledged as such. There is a great festival and gathering of fantastic spirits that Faust orchestrates, which also has a short but hilarious and weird tangent that touches on and perhaps predicts a literary craze in 2008:
The herald introduces various poets, poets of nature, court poets, love poets, sweet or passionate. In the pressure of competition none lets the other speak. But one of them gets a word in
Satirical Poet
Do you know what would really delight me as a poet? To write and recite what no one wants to hear.
The night and graveyard poets beg to be excused, because they are having a most interesting conversation with a newly arrived vampire, which might lead to a new form of poetry. The herald has no choice but to agree and he fills the gap by calling on Greek mythology which, while in modern costume, remains true to character and retains its appeal.
Act II features the Peneios, which is a weird mythological place somewhat similar to Hades, or the Inferno, populated by Griffins and Sphinxes. Faust is temporarily put into a coma state due to a visit to the Mothers, which are the "true forms" that will explain how he can meet Helen of Troy, which is his latest idea. Act II is very bizarre, and also features a scene with Wagner, who has been changed somewhat by Faust's disappearance. There is also the curious character of Homonculus, which is like a lightning-bug trapped in a jar, who explains that it is a human who is waiting to be born.
Act III is the "Helen Segment" which writes a new chapter in Greek literature many years after its proliferation. It is a self-contained episode, as is Act IV, which features the return of the emperor from Act I, and is the section of the play devoted to the investigation of war. Finally, Act V brings the work to a powerful and surprising close. Act V is probably the most compelling single part in the entire play, particularly Faust's and Mephistopheles's closing passages. The very end of the play is especially bizarre, and exeunts on a gracious and mysterious note:
Chorus Mysticus
Transitory things are symbolical only. Here the inadequate finds its fulfilment. The not expressible is here made manifest. The eternal in woman is the gleam we follow.
A review of Thomas Mann's Doctor Faustus kickstarted this blog, and it would perfect in a way if Goethe's Faust could end it, but aside from that dark thought, it bears mentioning that I found Mann's more entertaining on the whole, but wholly different. Adrian Leverkuhn and Faust are not similar characters. Leverkuhn barely speaks, and Faust is quite voluble at times. The section with "Mephistopheles" is handled with supreme care and brilliance by Mann, and that is really the only part that is comparable between the two. Both should be read by anyone who professes to love literature, and I should probably read Marlowe's version next. Mann's is longer, and more traditional as a novel than Goethe's is as a play. For its otherworldliness and its indefinability however, Faust will certainly remain one of the most impressive documents mankind has had to offer until the end of time.
Sunday, December 14, 2008
Interview - Tao Lin
After reviewing Eeeee Eee Eeee for this blog, I asked the author if I could interview him and he graciously fulfilled my request. I sent him 20 Questions on various and sometimes hopelessly personal topics. The responses are fantastic. For once, we will have a clear view of "how to get published when you are young" and "how a writer works and lives" without any confused conjectures about the path towards success. Many an ambitious and unpublished writer will offer their advice about becoming recognized as a literary voice, but at the end of the day, to quote the same professor quoted in the previous post, "experience knows it is not so."
JK: How long have you been writing for? Can you remember the first project you ever undertook?
TL: I have been writing with thoughts like “I am working hard” for 4 or 5 years. The first 20+ day writing project I had was a novel, I think. I finished it when I was 20 or 21 and edited it a few times. It was around 100,000 words.
JK: Do you have a regular working routine? Do you write every day?
TL: Since 4 or 5 years ago I've probably worked on writing 70-90% of days. Maybe during 50-70% of those days I’ve “scheduled my life around writing.” My routine has changed during those 4-5 years maybe 3-6 times. For the last 4-8 months, my routine, working on the middle and end drafts of my next two books, has been to work 3-6 hours then eat something then work 3-6 more hours then eat something and go to my room and sit and eat for a while checking email and other things and go to sleep.
JK: Which was your first work picked up for publication? Did you go through an agent? Did you have to deal with a lot of rejection before you got accepted? What was that process like?
TL: My first story published was maybe on eyeshot.net or uber.nu (no longer exists, I think). My first book published was YOU ARE A LITTLE BIT HAPPIER THAN I AM. I sent it to Action Books’ poetry-book contest for publication and it won. My first non-poetry book published was my story-collection, BED. I had a literary agent who was unable to sell it (was rejected by something like 20 publishers). After that 1-3 month period of rejection by Knopf, FSG, Riverhead, etc., I “separated” from the literary agent; the next day Melville House, my current publisher, called me and said they wanted to publish BED. (They had solicited BED independent of the literary agent about 4 months earlier, after reading about it on my blog).
JK: Why did you include so many scenes with animals in Eeeee Eee Eeee? Are they meant to be symbolic or allegorical in some way?
TL: I included the animals because I felt it was funny and also during that time in my life, in regards to the novel, I had many thoughts like “what difference does it make,” thoughts which contributed to me including animals. It is not symbolic or allegorical to me. It is, to me, more like me saying something like, “What if [something I think is funny happened]?” which is more “a joke” than allegorical, I feel. Another way of interpreting the animals, in my view, would be to view it the same as seeing animals in nature. If I see a dolphin in nature I feel amused, to some degree, and there is no additional meaning or effect, I do not interpret a dolphin in nature as allegorical, it does not reference something else to me. I believe and do not refute or encourage or discourage (or think negatively of or condescendingly towards) that some people see dolphins in nature, or in books, and interpret it as symbolic for the failure of their marriage or something else.
JK: Is the girl in the t-shirt that says "Mineral" a reference to the band Mineral?
TL: Yes.
JK: If you had to list your top 5 favorite authors, who would they be?
TL: Joy Williams, Lorrie Moore, Ann Beattie. I am having problems picking the other two. There are 5 or 10 more that I like.
JK: Do you feel famous at all? I'm guessing people don't recognize you on the street yet, but do you have a different perception of yourself as a person who maintains an audience and is recognized by the literary industry?
TL: I don't know if I feel famous. I feel famous and excited when Gawker links. But it gets less exciting each time. I feel the only way, maybe, to constantly feel famous and excited is to increase one's fame exponentially.
My perception of myself includes thoughts like “I am primarily a person who is ignored by Bookforum, certain literary blogs, and Critical Mass: The Blog of the National Book Critics Circle Board of Directors.”
JK: Is it hard to get an agent interested in your work? Would you be able to provide any advice in regards to querying them? Is it easier for you to publish more now that you've already got several books under your belt?
TL: I queried agents after I had completed BED (story-collection) and published I think 7 or 8 of the 9 stories in literary magazines, won an NYU creative writing award, and won One Story's annual short story contest. I put those things on my cover letter. I emailed queries and most agents responded. Some agents did not feel confident they could sell a story-collection, but wanted to see a novel when I wrote one. Two agents wanted to represent the story-collection and I talked to both for about a week and chose one.
My publisher has committed, I think (it is not “official”), to publishing anything I write that is like a “real” book, currently, so, yes, it is easier for me now.
JK: Do you like Bret Easton Ellis? Is there a reference to Less Than Zero in Eeeee Eee Eeee (something about young adults abusing drugs and leading a privileged lifestyle)? Do you aspire to that level of success? Or is artistic cred more important to you than commercial success?
TL: Yes, I like Bret Easton Ellis. I feel that he is funny and has the ability to write sentences containing a concrete to abstract ratio that I like, in a tone that makes me feel calm. I feel that his work, to some degree, is a conscious parody of what he is writing about, but also serious, and not a parody. I feel that Lorrie Moore does that also, but with sadness and maybe desperation, whereas Bret Easton Ellis does it with other things, depending on the book. “Conscious parody” is a tone I enjoy, I think. I don't think Eeeee Eee Eeee specifically references Less Than Zero because I had not yet read Less Than Zero when I wrote Eeeee Eee Eeee.
JK: Are you able to support yourself fully as a writer, or do you have to do odd-jobs as a way of making ends meet? Have you been considered for any teaching positions?
TL: I am not yet able to support myself only from writing. I think maybe by 2011 I will be able to support myself only from non-assigned writing. Since college I have worked at two libraries, as a personal assistant, at a restaurant, selling batteries on eBay, and some other things I think. I have not been considered for teaching positions.
JK: Can you tell us anything about Richard Yates? How experimental is it compared to Eeeee Eee Eeee?
TL: Richard Yates is linear and ideally has the same pacing, perspective, language, and tone throughout; it contains many scenes, is “dialogue heavy,” and is focused on one relationship. I don't feel it is experimental. But I just thought about it and I feel it's experimental in that I “controlled myself almost completely” from doing anything to it. Eeeee Eee Eeee goes backwards in time with each chapter until the last chapter (which starts chronologically before the first chapter) and ends at the chronologically latest point, and also switches perspectives, has inconsistent language and sentences and maybe tone, and has “fantastical” and “absurd” elements (which are all things I “did” “to it,” I feel). I think most people will not view Richard Yates as “experimental” but that I will sometimes view it as experimental.
JK: Did you ever meet E.L. Doctorow? Or Harold Bloom? Were there any writing teachers or classes in college that pushed you more than others to seek publication?
TL: I didn't meet those people. Writing teachers didn't really talk about publication to me, I think. The focus was on writing things and editing them, at that point, both in my view and their view, I feel. I liked Brian Morton, Thomas McGonigle, and Sophie Powell.
JK: I remember a short sarcastic passage about terrorists in Eeeee Eee Eeee. What was your experience like on 9/11 and what influence, if any, has it had on your life and your work?
TL: I woke around 11 a.m. in a dorm by Washington Square Park and heard things on my roommate's radio. Then I went outside and walked toward lower Manhattan to look at it a little. I feel that 9/11 has had no effect on my life and probably most of my work, relative to other things that have happened in the world, in that 9/11 did not add to, take away from, or change the “existential concerns” (rather than sociological, political, or topical concerns) that I feel I focus on in most and, ideally, all, of my writing.
JK: Did you ever work at Bobst Library? If so, were you there when the suicides occurred? I could see that being a traumatic experience on the level of 9/11 in a much more personal sense.
TL: Yes, I worked there. I was not there when people killed themselves but I was there like later in the day each day. My co-workers were there, in the basement, they said it was really loud (people killed themselves by jumping off the 10th, I think, floor in the inside atrium, onto the main lobby).
JK: Did you ever know a girl named Sarah in Jersey City? She dropped out after freshman year and last I heard she was living there. I have to say I feel very similar to the way Andrew feels about Sara in Eeeee Eee Eeee and I just wanted to make sure this was not the same person, or to find out if it was because she pretty much dropped off the face of the planet and I miss her greatly.
TL: I did not know Sarah in Jersey City. I think the only people I knew in Jersey City were the two other people living in the house I lived in, on different floors, and I saw them maybe once a week in passing.
JK: What are a few of your favorite bands at the moment?
TL: I have been listening to “Line and a Dot” (myspace.com/abovethevaultedsky), “Hop Along, Queen Ansleis” (myspace.com/hopalongqueenansleis), and “The Mystery Books” (myspace.com/themysterybooks) recently.
JK: Do you think you'll be a lifelong New Yorker or could you see yourself living someplace else? What other places appeal to you?
TL: I would move anywhere maybe. I don't feel attached to New York City except that it would take effort to move somewhere else (and maybe also that there is more access here to organic vegan food). Places that are sunny and don't get really cold appeal to me. Florida, California, and Japan appeal to me.
JK: Do you ever get worried about running out of ideas for good books? Do you outline a lot before you start a novel or just generally start typing?
TL: I do not feel worried about not having ideas for books. With my next two books I outlined each multiple times at different stages of their completion. Completing a draft (including having all the scenes that I feel will be in the final draft, in the general order that I feel will be in the final draft, including a beginning and an end, and in an edited form), of each book probably constituted 5-25% of the time spent on each book. The other 75-95% is spent repeatedly reading it beginning to end while changing little things and deleting little things and moving sentences around inside paragraphs and things like that.
JK: I mostly found out about you from bookslut.com. Is there a concerted marketing effort through your publisher Melville House for all of this coverage or has bookslut sought you out on their own?
TL: My publisher's blog, Mobylives, was one of the first book blogs, along with Bookslut, so they know each other from that. Bookslut acknowledges, reviews, or does something with most, or some, Melville House books, I think.
JK: What is your opinion on the publishing industry at large? Do you find it to be full of sycophants and posers or do you think the majority of people in the "biz" have good taste and good intentions?
TL: I do not think in terms of good taste or good intentions or sycophants. If someone likes a certain kind of book then their “taste,” to me, is "I like a certain kind of book," it is not good or bad to me. If someone is lying that they like someone’s book to get that person to like them I feel that is funny, to some degree, and is “just another way of ‘doing things.’” It “works” for some people, some people do it openly, some people do it sarcastically, some people like sycophants, it is sustainable for some people, it cannot be sustained for some people, some people have problems “faking interest,” etc., and I feel that each method of doing something is “okay.”
JK: How long have you been writing for? Can you remember the first project you ever undertook?
TL: I have been writing with thoughts like “I am working hard” for 4 or 5 years. The first 20+ day writing project I had was a novel, I think. I finished it when I was 20 or 21 and edited it a few times. It was around 100,000 words.
JK: Do you have a regular working routine? Do you write every day?
TL: Since 4 or 5 years ago I've probably worked on writing 70-90% of days. Maybe during 50-70% of those days I’ve “scheduled my life around writing.” My routine has changed during those 4-5 years maybe 3-6 times. For the last 4-8 months, my routine, working on the middle and end drafts of my next two books, has been to work 3-6 hours then eat something then work 3-6 more hours then eat something and go to my room and sit and eat for a while checking email and other things and go to sleep.
JK: Which was your first work picked up for publication? Did you go through an agent? Did you have to deal with a lot of rejection before you got accepted? What was that process like?
TL: My first story published was maybe on eyeshot.net or uber.nu (no longer exists, I think). My first book published was YOU ARE A LITTLE BIT HAPPIER THAN I AM. I sent it to Action Books’ poetry-book contest for publication and it won. My first non-poetry book published was my story-collection, BED. I had a literary agent who was unable to sell it (was rejected by something like 20 publishers). After that 1-3 month period of rejection by Knopf, FSG, Riverhead, etc., I “separated” from the literary agent; the next day Melville House, my current publisher, called me and said they wanted to publish BED. (They had solicited BED independent of the literary agent about 4 months earlier, after reading about it on my blog).
JK: Why did you include so many scenes with animals in Eeeee Eee Eeee? Are they meant to be symbolic or allegorical in some way?
TL: I included the animals because I felt it was funny and also during that time in my life, in regards to the novel, I had many thoughts like “what difference does it make,” thoughts which contributed to me including animals. It is not symbolic or allegorical to me. It is, to me, more like me saying something like, “What if [something I think is funny happened]?” which is more “a joke” than allegorical, I feel. Another way of interpreting the animals, in my view, would be to view it the same as seeing animals in nature. If I see a dolphin in nature I feel amused, to some degree, and there is no additional meaning or effect, I do not interpret a dolphin in nature as allegorical, it does not reference something else to me. I believe and do not refute or encourage or discourage (or think negatively of or condescendingly towards) that some people see dolphins in nature, or in books, and interpret it as symbolic for the failure of their marriage or something else.
JK: Is the girl in the t-shirt that says "Mineral" a reference to the band Mineral?
TL: Yes.
JK: If you had to list your top 5 favorite authors, who would they be?
TL: Joy Williams, Lorrie Moore, Ann Beattie. I am having problems picking the other two. There are 5 or 10 more that I like.
JK: Do you feel famous at all? I'm guessing people don't recognize you on the street yet, but do you have a different perception of yourself as a person who maintains an audience and is recognized by the literary industry?
TL: I don't know if I feel famous. I feel famous and excited when Gawker links. But it gets less exciting each time. I feel the only way, maybe, to constantly feel famous and excited is to increase one's fame exponentially.
My perception of myself includes thoughts like “I am primarily a person who is ignored by Bookforum, certain literary blogs, and Critical Mass: The Blog of the National Book Critics Circle Board of Directors.”
JK: Is it hard to get an agent interested in your work? Would you be able to provide any advice in regards to querying them? Is it easier for you to publish more now that you've already got several books under your belt?
TL: I queried agents after I had completed BED (story-collection) and published I think 7 or 8 of the 9 stories in literary magazines, won an NYU creative writing award, and won One Story's annual short story contest. I put those things on my cover letter. I emailed queries and most agents responded. Some agents did not feel confident they could sell a story-collection, but wanted to see a novel when I wrote one. Two agents wanted to represent the story-collection and I talked to both for about a week and chose one.
My publisher has committed, I think (it is not “official”), to publishing anything I write that is like a “real” book, currently, so, yes, it is easier for me now.
JK: Do you like Bret Easton Ellis? Is there a reference to Less Than Zero in Eeeee Eee Eeee (something about young adults abusing drugs and leading a privileged lifestyle)? Do you aspire to that level of success? Or is artistic cred more important to you than commercial success?
TL: Yes, I like Bret Easton Ellis. I feel that he is funny and has the ability to write sentences containing a concrete to abstract ratio that I like, in a tone that makes me feel calm. I feel that his work, to some degree, is a conscious parody of what he is writing about, but also serious, and not a parody. I feel that Lorrie Moore does that also, but with sadness and maybe desperation, whereas Bret Easton Ellis does it with other things, depending on the book. “Conscious parody” is a tone I enjoy, I think. I don't think Eeeee Eee Eeee specifically references Less Than Zero because I had not yet read Less Than Zero when I wrote Eeeee Eee Eeee.
JK: Are you able to support yourself fully as a writer, or do you have to do odd-jobs as a way of making ends meet? Have you been considered for any teaching positions?
TL: I am not yet able to support myself only from writing. I think maybe by 2011 I will be able to support myself only from non-assigned writing. Since college I have worked at two libraries, as a personal assistant, at a restaurant, selling batteries on eBay, and some other things I think. I have not been considered for teaching positions.
JK: Can you tell us anything about Richard Yates? How experimental is it compared to Eeeee Eee Eeee?
TL: Richard Yates is linear and ideally has the same pacing, perspective, language, and tone throughout; it contains many scenes, is “dialogue heavy,” and is focused on one relationship. I don't feel it is experimental. But I just thought about it and I feel it's experimental in that I “controlled myself almost completely” from doing anything to it. Eeeee Eee Eeee goes backwards in time with each chapter until the last chapter (which starts chronologically before the first chapter) and ends at the chronologically latest point, and also switches perspectives, has inconsistent language and sentences and maybe tone, and has “fantastical” and “absurd” elements (which are all things I “did” “to it,” I feel). I think most people will not view Richard Yates as “experimental” but that I will sometimes view it as experimental.
JK: Did you ever meet E.L. Doctorow? Or Harold Bloom? Were there any writing teachers or classes in college that pushed you more than others to seek publication?
TL: I didn't meet those people. Writing teachers didn't really talk about publication to me, I think. The focus was on writing things and editing them, at that point, both in my view and their view, I feel. I liked Brian Morton, Thomas McGonigle, and Sophie Powell.
JK: I remember a short sarcastic passage about terrorists in Eeeee Eee Eeee. What was your experience like on 9/11 and what influence, if any, has it had on your life and your work?
TL: I woke around 11 a.m. in a dorm by Washington Square Park and heard things on my roommate's radio. Then I went outside and walked toward lower Manhattan to look at it a little. I feel that 9/11 has had no effect on my life and probably most of my work, relative to other things that have happened in the world, in that 9/11 did not add to, take away from, or change the “existential concerns” (rather than sociological, political, or topical concerns) that I feel I focus on in most and, ideally, all, of my writing.
JK: Did you ever work at Bobst Library? If so, were you there when the suicides occurred? I could see that being a traumatic experience on the level of 9/11 in a much more personal sense.
TL: Yes, I worked there. I was not there when people killed themselves but I was there like later in the day each day. My co-workers were there, in the basement, they said it was really loud (people killed themselves by jumping off the 10th, I think, floor in the inside atrium, onto the main lobby).
JK: Did you ever know a girl named Sarah in Jersey City? She dropped out after freshman year and last I heard she was living there. I have to say I feel very similar to the way Andrew feels about Sara in Eeeee Eee Eeee and I just wanted to make sure this was not the same person, or to find out if it was because she pretty much dropped off the face of the planet and I miss her greatly.
TL: I did not know Sarah in Jersey City. I think the only people I knew in Jersey City were the two other people living in the house I lived in, on different floors, and I saw them maybe once a week in passing.
JK: What are a few of your favorite bands at the moment?
TL: I have been listening to “Line and a Dot” (myspace.com/abovethevaultedsky), “Hop Along, Queen Ansleis” (myspace.com/hopalongqueenansleis), and “The Mystery Books” (myspace.com/themysterybooks) recently.
JK: Do you think you'll be a lifelong New Yorker or could you see yourself living someplace else? What other places appeal to you?
TL: I would move anywhere maybe. I don't feel attached to New York City except that it would take effort to move somewhere else (and maybe also that there is more access here to organic vegan food). Places that are sunny and don't get really cold appeal to me. Florida, California, and Japan appeal to me.
JK: Do you ever get worried about running out of ideas for good books? Do you outline a lot before you start a novel or just generally start typing?
TL: I do not feel worried about not having ideas for books. With my next two books I outlined each multiple times at different stages of their completion. Completing a draft (including having all the scenes that I feel will be in the final draft, in the general order that I feel will be in the final draft, including a beginning and an end, and in an edited form), of each book probably constituted 5-25% of the time spent on each book. The other 75-95% is spent repeatedly reading it beginning to end while changing little things and deleting little things and moving sentences around inside paragraphs and things like that.
JK: I mostly found out about you from bookslut.com. Is there a concerted marketing effort through your publisher Melville House for all of this coverage or has bookslut sought you out on their own?
TL: My publisher's blog, Mobylives, was one of the first book blogs, along with Bookslut, so they know each other from that. Bookslut acknowledges, reviews, or does something with most, or some, Melville House books, I think.
JK: What is your opinion on the publishing industry at large? Do you find it to be full of sycophants and posers or do you think the majority of people in the "biz" have good taste and good intentions?
TL: I do not think in terms of good taste or good intentions or sycophants. If someone likes a certain kind of book then their “taste,” to me, is "I like a certain kind of book," it is not good or bad to me. If someone is lying that they like someone’s book to get that person to like them I feel that is funny, to some degree, and is “just another way of ‘doing things.’” It “works” for some people, some people do it openly, some people do it sarcastically, some people like sycophants, it is sustainable for some people, it cannot be sustained for some people, some people have problems “faking interest,” etc., and I feel that each method of doing something is “okay.”
Thursday, December 4, 2008
Lullaby - Chuck Palahniuk
Lullaby was published in 2002. It is the follow-up to Choke. Is it better than Choke? That's hard to say, but for me personally, Choke is better. It is certainly more arresting and consistent than either Diary or Haunted. Elements of it are quite similar to Rant. It deals in the fantastic. Many days I wish I knew the culling song that consigns the title of the book. A person can say the poem taken from Poems and Rhymes from Around the World and kill whoever is in their immediate vicinity. They can even say the culling song silently to themselves in their mind and focus their energy on a person and have them drop dead from far away. Some days I wish I could have someone say the culling song to me. A mysterious death is produced, without a known cause. It seems relatively painless.
Carl Streator, the protagonist of the novel, makes the connection between a series of Sudden Infant Death Syndrome occurrences and each family's possession of Poems and Rhymes from Around the World, opened up to page 27, the culling song. It is meant to help babies fall asleep. A lullaby. Palahniuk never reveals the actual words of the song. He only mentions that it is about animals going to sleep.
The main characters are Streator, Helen Hoover Boyle, a real-estate agent, Mona, her secretary, Oyster, her boyfriend, and John Nash, a paramedic. The novel gets started up relatively quickly, and by page 50 turns into something of a mass-market thriller, which still carries enough wit to keep it edgy. By that I mean it is a page-turner.
Helen sells haunted houses on a revolving schedule as soon as the new owners of each discover the fact. Carl is a journalist. Mona and Oyster are Wiccans, militant vegans, and not necessarily what they appear to be. Nash takes advantage of the recent spat of unsolved deaths. The book does have a moral center and once Carl and Helen discover that they are addicted to the power that the culling song gives them, they embark upon a cross-country road trip with Mona and Oyster in the backseat. This is where the novel really starts to hit its stride. This is where it becomes even more of a page-turner.
There is one problem with the novel. At one point, Streator mentions that Poems and Rhymes from Around the World was published eleven years ago. Soon after it is mentioned that both Hoover and Streator were in possession of the book twenty years before. Since this plot hole is never explained, I take it to be something of an editorial oversight--more and more of which I have been catching since I have started to work as a proofreader ("rememer" and "look" instead of "lock" are two particular typos I found in my copy of The New York Trilogy). I am willing to forgive Palahniuk though. It makes me feel better about myself. As one of my college professors used to like to say, "Even Homer nods."
In the way of larger social commentary that Palahniuk usually delivers in his works, there is much talk about how Big Brother has been infused into the manifold media we consume on a daily basis. There were not many easily quotable sections that I came across until near the very end, where some of the statements crystallized into a somewhat cogent philosophical position:
"I can't tell what I really want and what I've been tricked into wanting.
What I'm talking about is free will. Do we have it, or does God dictate and script everything we do and say and want? Do we have free will, or does the mass media and our culture control us, our desires and actions, from the moment we're born? Do I have it, or is my mind under the control of Helen's spell?" (228)
Lullaby is about power and the abuse of it. It is about supernatural practices and rituals and it provides enough trivia to make people who want to believe in that sort of thing investigate further. The Wiccan aspect is vaguely mocked, but taken seriously enough to potentially influence readers that might have hopes of learning real spells. The Book of Shadows is invoked and I kept thinking of the Blair Witch Project even though I never saw the sequel, and it seems like this could have been a fun but potentially maddening topic to research. In short, this is one of Palahniuk's better novels. And like I said before, I prefer Choke slightly more, because it's closer, even if by just a little bit, to everyday life.
Carl Streator, the protagonist of the novel, makes the connection between a series of Sudden Infant Death Syndrome occurrences and each family's possession of Poems and Rhymes from Around the World, opened up to page 27, the culling song. It is meant to help babies fall asleep. A lullaby. Palahniuk never reveals the actual words of the song. He only mentions that it is about animals going to sleep.
The main characters are Streator, Helen Hoover Boyle, a real-estate agent, Mona, her secretary, Oyster, her boyfriend, and John Nash, a paramedic. The novel gets started up relatively quickly, and by page 50 turns into something of a mass-market thriller, which still carries enough wit to keep it edgy. By that I mean it is a page-turner.
Helen sells haunted houses on a revolving schedule as soon as the new owners of each discover the fact. Carl is a journalist. Mona and Oyster are Wiccans, militant vegans, and not necessarily what they appear to be. Nash takes advantage of the recent spat of unsolved deaths. The book does have a moral center and once Carl and Helen discover that they are addicted to the power that the culling song gives them, they embark upon a cross-country road trip with Mona and Oyster in the backseat. This is where the novel really starts to hit its stride. This is where it becomes even more of a page-turner.
There is one problem with the novel. At one point, Streator mentions that Poems and Rhymes from Around the World was published eleven years ago. Soon after it is mentioned that both Hoover and Streator were in possession of the book twenty years before. Since this plot hole is never explained, I take it to be something of an editorial oversight--more and more of which I have been catching since I have started to work as a proofreader ("rememer" and "look" instead of "lock" are two particular typos I found in my copy of The New York Trilogy). I am willing to forgive Palahniuk though. It makes me feel better about myself. As one of my college professors used to like to say, "Even Homer nods."
In the way of larger social commentary that Palahniuk usually delivers in his works, there is much talk about how Big Brother has been infused into the manifold media we consume on a daily basis. There were not many easily quotable sections that I came across until near the very end, where some of the statements crystallized into a somewhat cogent philosophical position:
"I can't tell what I really want and what I've been tricked into wanting.
What I'm talking about is free will. Do we have it, or does God dictate and script everything we do and say and want? Do we have free will, or does the mass media and our culture control us, our desires and actions, from the moment we're born? Do I have it, or is my mind under the control of Helen's spell?" (228)
Lullaby is about power and the abuse of it. It is about supernatural practices and rituals and it provides enough trivia to make people who want to believe in that sort of thing investigate further. The Wiccan aspect is vaguely mocked, but taken seriously enough to potentially influence readers that might have hopes of learning real spells. The Book of Shadows is invoked and I kept thinking of the Blair Witch Project even though I never saw the sequel, and it seems like this could have been a fun but potentially maddening topic to research. In short, this is one of Palahniuk's better novels. And like I said before, I prefer Choke slightly more, because it's closer, even if by just a little bit, to everyday life.