books on Stephen Schenkenberg

“Basking in Hell,” Redux

Sun, 17 May 2026 08:51:59 -0500

Nearly 20 years ago, at a time when I was deeply immersed in the work of William H. Gass, I wrote a long essay about his landmark 1995 novel “The Tunnel,” prompted by the release of the 45-hour audiobook read by Gass himself. I was grateful to the indie lit blog that published it.

Last month, I was at a small gathering held to celebrate Dalkey Archive Press’s new reissue of the novel. Someone made a generous comment about my long-ago essay, which made me search for it after all these years. Turns out the blog had run its course and was no longer. I reached out to Chad Post — Open Letter Books director and Dalkey editorial curator — and said I’d welcome the chance to have this republished somewhere, if only to nudge a few more readers closer to the book. Chad said he’d love to republish it on the “Mining the Dalkey Archive” blog he runs on Substack.

So with that pleasant turn of events, I’m happy to share this fresh link here: “Basking in Hell: Returning to William H. Gass’s ‘The Tunnel.’”

Rest in peace, Michael Silverblatt

Sat, 21 Feb 2026 23:24:49 -0500

The “Bookworm” host and voracious, world-class, generous reader has died. Here’s Sam Roberts’ obituary for the NYT, and a personal essay from Jynne Dilling in n+1.

In addition to being grateful listener of many hours of Silverblatt’s penetrating, warm interviews over the years, I was fortunate to connect with him directly when editing “The Ear’s Mouth Must Move: Essential Interviews of William H. Gass.” Silverblatt was a major champion of Gass’s work, referring to “The Tunnel” as “the most beautiful, most complex, most disturbing novel to be published in my lifetime.”

When I spoke with Silverblatt on the phone in late 2011, he said he’d be pleased to grant me permission to include two of his fantastic interviews with Gass in my collection. He asked with great affection about Bill, knowing I was in touch with him here in St. Louis, and said he was enjoying Gass’s new novel, “Middle C.” He was, characteristically, amid his second read-through.

Sat, 24 Jan 2026 16:02:02 -0500

Just finished Stefano Mancuso‘s slim, spirited, and delightful volume “The Incredible Journey of Plants.” Here’s a remarkable paragraph about the perseverance required for German-born botanist Georg Eberhard Rumphius to finally have his 7-volume, 1,660-page life’s work published for our benefit, alas a half-century after his death:

Rumphius was one of botany’s true champions. During his sojourn in the Maluku Islands, he identified and described numerous vegetable species, previously unknown—a huge accomplishment that in Europe earned him the nickname “Plinio Indicus” (“Pliny of the Indies”), and all this despite a series of personal catastrophes. In 1670, at age forty-three, he became blind from glaucoma. In 1674, during an earthquake on Ambon, he lost his beloved wife, Suzanne (whose name he had given to an orchid), and a son. In 1687, a fire destroyed his library and most of his manuscripts and drawings. After years and years in which he managed to reconstruct his lost work, he sent it to Amsterdam to be published, but the ship was attacked and sunk by the French. Fortunately, he had kept a copy, and finally, in 1696, it arrived in Amsterdam. There, the Dutch East India Company decided it contained too much non-divulgeable information, and so it blocked publication of the work for almost fifty years. Rumphius died on Ambon in 1702. His Herbarium Amboinense was finally published between 1741 and 1750.

Tue, 13 Jan 2026 23:40:09 -0500

From the memoir “Lab Girl” by Hope Jahren:

A leaf grows by enlarging the string of cells located along a central vein; single cells on the perimeter eventually decide independently when to stop dividing. From this tip, smaller veins develop, eventually completing the network at the stem; thus the overall maturation proceeds from tip to base. Once the most daring portion of the leaf is complete, the plant puts horse before cart and begins to slide sugar back down and in, down to where it will be used to make more root, which will be used to bring up more water, which will be used to expand new leaves, which will pull back more sugar, and in this manner four hundred million years have passed.

Every once in a while a plant gets an idea to make a new leaf that changes everything. The spines on a cholla cactus are barbed like a fishhook, sharp and tough enough to puncture the leathery skin of a tortoise. They also reduce airflow across the cactus’s surface, thereby reducing evaporation. They provide meager shade for the stem and a surface upon which to condense dew. The spines are actually the leaves of the cactus; the green portion is its swollen stem.

Probably within just the last ten million years, a plant had a new idea, and instead of spreading its leaf out, it shaped it into a spine, such as those we find today on the cholla cactus. It was this new idea that allowed a new kind of plant to grow preposterously large and live long in a dry place where it was also the only green thing around to eat for miles—an absurdly inconceivable success. One new idea allowed the plant to see a new world and draw sweetness out of a whole new sky.

Cultural Year in Review: 2025

Mon, 29 Dec 2025 09:35:56 -0500

Continuing my year-end tradition, here are a few cultural highlights from the past 12 months:

Cultural Outings: Summer trip to NYC with the kids — nothing like it. Smalls Jazz Club, The High Line, Little Island, Ellis Island, Bryant Park, “A Century of The New Yorker” at the New York Public Library, ”Amy Sherald: American Sublime” at The Whitney, “Superfine: Tailoring Black Style” at The Met. Here in STL, my wife’s exhibition “Veronica Ryan: Unruly Objects” at the Pulitzer Arts Foundation, Wilco live, and a few trips to hear the St. Louis Symphony, including at the newly renovated Powell Hall.

Reading — Fiction: The best novel I read this year was one I’d had on the list forever: “Middlemarch” by George Eliot. Everyone was right. Others I enjoyed: “James” by Percival Everett; “The MANIAC” by Benjamin Labatut; “Vera, or Faith” by Gary Shteyngart”; “The Emperor of Gladness” by Ocean Vuong; “Demon Copperhead” by Barbara Kingsolver; “Assembly” by Natasha Brown; “Perfection” by Vincenzo Latronico; and “The Summer Layoff” by Matt Bucher.

Reading — Nonfiction

Affairs: “One Day, Everyone Will Have Always Been Against This” by Omar El Akkad and Zadie Smith’s “Dead and Alive: Essays,” two of the most incisive books I read in 2025.
Design & Visual Arts: “The Invention of Design: A Twentieth-Century History” by Maggie Gram; “Dieter Rams: As Little Design as Possible” by Sophie Lovell; “A Visible Distance: Craft, Creativity, and the Business of Design” by Matt Owens; “Diane Arbus: In the Beginning” by Jeff L. Rosenheim; “The Use of Photography” by Annie Ernaux; “Q&A” by Adrian Tomine; “The Magic Hours: The Films and Hidden Life of Terrence Malick” by John Bleasdale; “Contact High: A Visual History of Hip-Hop” by Vikki Tobak.
On the Job: “The Years of Lyndon Johnson: Means of Ascent” by Robert A. Caro; “All That Glitters: A Story of Friendship, Fraud, and Fine Art” by Orlando Whitfield; “I Regret Almost Everything” by Keith McNally; “Who Is Government? The Untold Story of Public Service” by Michael Lewis; “Better: A Surgeon’s Notes on Performance” by Atul Gawande; “Why I Cook” by Tom Colicchio; Richard P. Rumelt’s “The Crux: How Leaders Become Strategists” and “Good Strategy, Bad Strategy: The Difference and Why It Matters” (one memorable passage).
On the Media: “When the Going Was Good: An Editor’s Adventures During the Last Golden Age of Magazines” by Graydon Carter; “Empire of the Elite: Inside Condé Nast, the Media Dynasty That Reshaped America" by Michael M. Grynbaum; “Lorne: The Man Who Invented Saturday Night Live” by Susan Morrison.
Technology: “More Than Words: How to Think About Writing in the Age of AI” by John Warner; “Apple in China: The Capture of the World’s Greatest Company” by Patrick McGee; “The Optimist: Sam Altman, OpenAI, and the Race to Invent the Future” by Keach Hagey; “Careless People: A Cautionary Tale of Power, Greed, and Lost Idealism” by Sarah Wynn-Williams; “Source Code: My Beginnings” by Bill Gates.
A Few Others: “The Revolutionary Genius of Plants” by Stefano Mancuso; “A Marriage at Sea: A True Story of Love, Obsession, and Shipwreck” by Sophie Elmhirst; “All That Happiness Is: Some Words on What Matters” by Adam Gopnik; “My Life in Middlemarch” by Rebecca Mead; “The Family Dynamic: A Journey Into the Mystery of Sibling Success” by Susan Dominus.

Movies: “A Real Pain”; “The Seed of the Sacred Fig”; ”Sentimental Value”; “All We Imagine as Light”; “Nickel Boys”; “Sorry, Baby”; ”The New Yorker at 100”; “Perfect Days”; “Black Bag”; “Away We Go”; “The Brutalist”; “The Martian”; “F1.” + A bonus rewatch of Greta Gerwig’s “Little Women” with the kids.

TV: The four-episode “Adolescence” was unforgettable — made with extraordinary humanity and skill. Others I enjoyed: “The Studio”; “Task”; “The Pitt”; “Mare of Easttown”; “Eastern Gate”; “The Lowdown”; “Righteous Gemstones”; “Ludwig”; “I Love LA”; “A Man on the Inside.” Some comedy picks: Mike Birbiglia’s “The Good Life”; Sarah Silverman’s “PostMortem”; the Conan O’Brien/Kennedy Center Mark Twain Prize special. As always, the latest “Great British Bake Off” season was a family fav.

Podcast Episodes: The Rewatchables on “High Fidelity” and “Kicking and Screaming”; Dissect’s “The Most GENIUS Number Bars in Rap History”; and You’ll Hear It’s “Why Jazz Musicians Love Hip Hop”.

Music: Enjoyed the new records from Jeff Tweedy, Ben Kweller, Wednesday, Earl Sweatshirt, Clipse, and Lucy Daucus, as well as the newly released “Nick Drake: The Making of Five Leaves Left.”

To close, with well wishes for the coming new year, here’s one of a few versions of “Saturday Sun” from that Nick Drake box set of unaccompanied demos, studio outtakes, and previously unheard songs.

Wed, 26 Nov 2025 21:00:24 -0500

Such rich, expressive writing from Richard Mabey in his book “The Cabaret of Plants: Forty Thousand Years of Plant Life and the Human Imagination”:

Everywhere I have travelled plants have surprised me by their dogged loyalty to place, even to the point of defining the genius loci, and then by their capricious abandonment of home comforts to become vagrants, opportunists, libertines. I’ve seen ancient goblin trees develop wandering branches as promiscuous as bindweed shoots, which might equally well lope off into the countryside or jam themselves into a city wall. I’ve marvelled at tropical orchids living off air and mist. Plants, looked at like this, raise big questions about life’s constraints and opportunities — the boundaries of the individual, the nature of ageing, the significance of scale, the purpose of beauty — that seem to illuminate the processes and paradoxes of our own lives.

Tue, 25 Nov 2025 18:48:13 -0500

Dan Wang, sharply introducing the thesis to his new book, “Breakneck: China’s Quest to Engineer a Perfect Future”:

The best hedge, I know against tightening intentions between the two superpowers is mutual curiosity. The more informed Americans are about Chinese, and vice versa, the more likely we are to stay out of trouble. The starkest contrast between the two countries is the competition that will define the twenty-first century: an American elite, made up of mostly lawyers, excelling at obstruction, versus a Chinese technocratic class, made up of mostly engineers, that excels at construction. That’s the big idea behind this book. It’s time for a new lens to understand the two superpowers: China is an engineering state, building big at breakneck speed, in contrast to the United States' lawyerly society, blocking everything it can, good and bad.

Breakneck is the story of the Chinese state that yanked its people into modernity—an action rightfully envied by much of the world—using means that ran roughshod over many—an approach rightfully disdained by much of the world. It is also a reminder that the United States once knew the virtues of speed and ambitious construction. Traversing dazzling metropolises and gigantic factories, Breakneck will illuminate the astounding progress and the dark underbelly of the engineering state. The lawyerly society has virtues, too, to teach China. Each superpower offers a vision of how the other can be better, if only their leaders and peoples care to take more than a fleeting glance.

Intrigued by Wang, I checked out and enjoyed this podcast interview as well his annual reflection letters.

Sun, 12 Oct 2025 18:04:34 -0500

From “The Coming Wave” by Mustafa Suleyman:

Proliferation is catalyzed by two forces: demand and the resulting cost decreases, each of which drives technology to become even better and cheaper. The long and intricate dialogue of science and technology produces a chain of insights, breakthroughs, and tools that build and reinforce over time, productive recombinations that drive the fu-ture. As you get more and cheaper technology, it enables new and cheaper technologies downstream. Uber was impossible without the smartphone, which itself was enabled by GPS, which was enabled by satellites, which were enabled by rockets, which were enabled by combustion techniques, which were enabled by language and fire.

Fri, 19 Sep 2025 21:32:41 -0500

Maggie Gram, early on in her fascinating new book “The Invention of Design: A Twentieth-Century History”:

People all over the world tried to ride these waves in ways that might preserve their own dignity and power. Our contemporary idea of design—that hopeful amalgam of a concept—was born in the process. Inventing design helped people imagine reversing some of the damage wrote by the Industrial Revolution. It helped people convince themselves that capitalism fundamentally served human interests; that positive social change could be achieved without politics and governmental action; that problem solving could be both generative and profitable. And it enabled people of substantial power and privilege to imagine themselves as benevolent actors. ‘Design,’ in short, made capitalism feel, both to its participants and to its subjects, less brutal and inhumane—less destructive, in Joseph Schumpeter’s terms, and more creative. It seems to give them a way to reclaim the things they’d made and to re-embed them in a human order.

A Surprising Find: “Finding Freedom”

Thu, 04 Sep 2025 18:45:00 -0500

Yesterday via Kottke, I learned that Michael Sippey built a new project: 3books, a nicely organized collection of all the books that Ezra Klein’s guests have recommended at the end of his show. Generous project, well-executed. Clicking through and adding a few titles to my to-read list, I was surprised and delighted to see a familiar cover: “Finding Freedom: The Untold Story of Joshua Glover, Freedom Seeker,” published by the Wisconsin Historical Society Press and recommended by Ben Wikler last summer. I had the privilege of serving as the editor of ”Finding Freedom” back in the mid-2000s, when I had moved to Madison, where Tamara was in grad school. This was one of three books I edited in a part-time role there, and I hadn’t heard anything about it since. I can still remember working through the MS in a tiny conference room with authors Ruby West Jackson and Walter T. McDonald, who had worked together over many years researching Glover’s life and mapping underground railroad routes into and out of Wisconsin. How wonderful to learn that not only is the book still being published, but that the current edition has a foreword from UW-Madison historian Christy Clark-Pujara.

“American culture was shifting Si-ward”

Sat, 30 Aug 2025 14:02:30 -0500

Just finished “Empire of the Elite: Inside Condé Nast, the Media Dynasty That Reshaped America” by Michael M. Grynbaum. Lots of juice for the magazine junkies among us. And written with sharpness and style. Here’s the author early on, setting a scene of Si Newhouse finally feeling free to break from the influence of his father, Sam:

Now, as he sat in the gilded sanctum of Emanu-El, the encomia to his father emanating from the lectern, Si gazed at the dark wooden coffin, festooned with roses, that would be Sam’s final resting place. He was a few months shy of his fifty-second birthday, and this was the first time that the specter of his father’s disapproval, a looming presence in his life since childhood, had fully lifted. Sam Newhouse had never fully respected the magazines that Si had chosen as his life’s work; in his mind, Condé Nast was a minnow in the Newhouse sea, an unserious realm best left to his unserious son. No longer. Si had ambitions of his own, which over the next decade would vastly expand the Newhouse empire. On the day of Sam’s funeral, Advance Publications was valued at roughly $2 billion. By 1988, it would be worth $7 billion, a 250 percent increase. It would control the esteemed New Yorker, a revived smash-hit version of Vanity Fair, and the gastronomic bible Gourmet. Its dowdier titles would be revamped to appeal to an ascendant and free-spending aspirational class. Sam had been too set in his ways to detect the coming trend, but American culture was shifting Si-ward. The idealism of the I960s was yielding to the materialism of the 1980s, a new preoccupation with the navel-gazing, ego-stroking life. Si, who at Condé Nast had surrounded himself with the masters of the zeitgeist, was prepared, and he had already put something into motion that marked the true start of Condé’s inexorable eighties rise, a magazine whose prescient title managed to dovetail with both the spirit of the era and Si’s own newfound sense of liberation: Self.

Weeknotes 03: Rams, Asawa, Morris

Sat, 26 Jul 2025 18:54:00 -0500

Thought I’d pick back up the tradition of a batching up a week’s intake and/or happenings:

Enjoyed Sophie Lovell’s “Dieter Rams: As Little Design As Possible,” a chunky volume pairing photographs of sharply designed products with essays about the designer’s career and influence. (Gary Hustwit’s 2018 documentary about him is also very good.) Rams’s credo: “We are economical with form and color, prioritize simple forms, avoid unnecessary complexity, do without ornament, instead [there is] order and clarification. We measure every detail against the question of whether it serves function and facilitates handling.”
It was a treat to see the artist Ruth Asawa featured on the PBS NewsHour’s Friday evening program. My wife Tamara curated “Ruth Asawa: Life’s Work” for the Pulitzer Arts Foundation in 2018, and it’s been special to see recognition for Asawa’s remarkable work (and life) continue to grow in the years since.

I wrote recently about enjoying the NYT’s package on the 100 best movies of the 20th century. Highly recommend this episode of Wesley Morris’s Cannonball podcast, in which he and film curator Eric Hynes discuss the project and, toward the end, talk through their own picks with affection and humor. (Morris on one of his picks, “Magic Mike XXL”: “It’s basically ‘The Odyssey’ with g-strings.”)
This NYT piece made me smile “He Read (at Least) 3,599 Books in His Lifetime. Now Anyone Can See His List.” Like the subject, my own father‘s been doing this for at least 50 years. His habit inspired mine, which began in the late 1990s. While I’ve kept track digitally for the past few decades, I still have my notebook from the early days. Here’s one image below from 2001 and early 2022, a fantastic stretch for reading (including “White Teeth,” “Ulysses,” “Infinite Jest,” “Carpenter’s Gothic,” “For the Time Being,” “Revolutionary Road,” and “The Painted Bird").

Strategy at the Getty: Not Just Our Art, but All Art

Sat, 17 May 2025 09:04:56 -0500

Love this passage from Richard Rumelt‘s “Good Strategy, Bad Strategy.”

In 1983, Harold Williams — who had once been dean of the UCLA management school — became chairman of the $1.4B Getty Trust. Rumelt explains that Williams grew the Getty “from a small elite collection to a major force in the art world.” The two spoke in 2000, three years after Williams retired. Williams explained his strategy this way:

The Getty Trust was a very large amount of money, and we had to spend a considerable amount each year. Our mandate was art, but I had to decide how to actually spend the funds. We could have simply built a great collection—that would have been the obvious thing to do. Buy art. But I wasn’t comfortable with that as a direction. All we would really accomplish would be to drive up the price of art and move some of it from New York and Paris to Los Angeles.

It took some time, but I began to develop the idea that art could be, indeed, should be, a more serious subject than it was. Art is not just pretty objects; it is a vital part of human activity. In a university, people spend a great deal of effort studying languages and histories. We know all about marriage contracts in remote tribes and the histories of many peoples. But art has been treated as a sideshow. I decided that the Getty could change this. Instead of spending our income on buying art, we could transform the subject. The Getty would begin to build a complete digital catalog of all art, including dance, song, and textiles. It would develop programs to educate art teachers and host advanced research on art and society. The Getty would host the best conversation talent in the world and develop new methods of conserving and restoration. In this way, I decided, we would have an impact far beyond simply putting art on display.

Rumelt provides this coda:

With $65 million to spend each year, Williams could have simply bought art or given money to schools and universities for their arts programs. But by aiming to transform the study of art, Williams designed an objective that was novel and nicely scaled to the resources at his disposal. Put simply, he invested where his resources would make a large and more visible difference. This is the power of concentration—of choosing an objective that can be decisively affected by the resources at hand. There is no way to know whether Williams’s strategy created greater good than a simpler strategy of giving away more money, but it did make a bigger bang and, thereby, attracted more energy and support from employees and outside organizations.

Sun, 04 May 2025 12:49:44 -0500

At long last, I tackled and finished George Eliot’s “Middlemarch," switching between audio and paperback over the past several months. What a canvas. Such intelligence. And the prose. The 750 pages are rich with memorable phrases that get inside her characters — one’s “self-cherishing anxiety”; another’s “motiveless levity”; the “reciprocal tolerance” that two have for each other — and whole paragraphs, like this novel-closing gem, that are indestructible, rhythmic, and wise:

Her finely touched spirit had still its fine issues, though they were not widely visible. Her full nature, like that river of which Cyrus broke the strength, spent itself in channels which had no great name on the earth. But the effect of her being on those around her was incalculably diffusive: for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.

Sun, 06 Apr 2025 18:39:57 -0500

Sharp, dispiriting NYT piece by Steven Kurutz: “The Gen X Career Meltdown,” subtitled, “Just when they should be at their peak, experienced workers in creative fields find that their skills are all but obsolete.“ I remember being struck by Douglas Coupland’s novel, including the form, when my grad school class dug into it in the late 90s. In his intro, Kurutz reminds us that Coupland’s characters had reconciled themselves to “diminishing expectations of material wealth.”

“A book always feels like a place I’ve been to”

Sat, 22 Mar 2025 20:49:50 -0500

From Elisa Gabbert‘s book of essays “Any Person Is the Only Self,” which became a spring break find thanks to the local Venice, Fla., library:

If I remember anything about a book, I also remember where I read it—what room, what chair. I read most of Rilke’s poetry while sitting by a north-facing window in our apartment in Denver, early mornings in 2020 when I woke before dawn and couldn’t get back to sleep.…

A few poems I read in the sun, on our friend’s back porch. She and her husband and kids had fled north to be with family who could help out with the childcare while they worked. Every few days, John and I would drive to their houses and sit on the porch, late summer afternoons and evenings, and share a bottle of white wine while reading, a pencil on the table between us so we could underline and asterisk our books. I didn’t used to like pencils, or writing in books, but John does, and now I do too. I like to dog-ear favorite poems in a book of poetry, a cheat code for the future, so when I pull out a book that I haven’t touched in years, it tells me where to go. Whole experience of a book, any book, is spatial. For years sometimes, I remember which side, verso or recto, my favorite parts appeared on, how deep in the book, how far down the page. A book always feels like a place I’ve been to.

Nodded along to this, feeling a kindred spirit. Gabbert even keeps annual lists recapping the books she’s read that year.

Tue, 11 Mar 2025 21:49:38 -0500

Excellent, visually interesting video review of William Gaddis’s “The Recognitions,” an all-time fav. Eager to reread it in the coming years.

Sat, 08 Mar 2025 19:37:23 -0500

Enjoyed John Warner’s new book, “More Than Words: How to Think About Writing in the AI.” A writer and teacher (and a former McSweeney’s editor), Warner has beliefs and ideals, but he’s not a scold, or an alarmist. With good humor and a clear-eyed sense of the positive uses of technology, he describes how ChatGPT — which he calls “automated text,” not “artificial intelligence” — encourages the circumvention of the nourishing, difficult work of both writing and reading. And what ChatGPT’s doing is not writing, he points out; it’s syntax. And he’s here in these pages to celebrate what’s lasting and human about real writing.

“What I want to say about writing is that it is a fully embodied experience. When we do it, we are thinking and feeling. We are bringing our unique intelligences to the table and attempting to demonstrate them to the world, even when our intelligences don’t seem too intelligent.

ChatGPT is the opposite, a literal averaging of intelligences, a featureless landscape of pattern-derived text.

Why have we declared this a marvel when there’s an infinite supply of greater marvels all around us?”

Sat, 01 Mar 2025 21:40:52 -0500

From an appropriately nice-sized Smithsonian feature on Robert Caro:

At Princeton, Caro wrote his senior thesis on Hemingway. It was so long—235 pages—that after Caro submitted it, the school capped the size of future submissions at 25,000 words. It was informally known as “the Caro rule.”

Wed, 05 Feb 2025 22:18:17 -0500

Picked the right two weeks to start reading, and be enchanted by, “Middlemarch.” 📚

Sun, 02 Feb 2025 11:15:29 -0500

Just finished Assembly by Natasha Brown. A sharp, slim, piercing novel narrated by a young Black British woman, working in finance, preparing to attend a garden party at her boyfriend’s family estate. Here’s an evening work scene, from the opening:

After the Digestif, He Gets Going

She understood the anger of a man who himself understood in his flesh and bones and blood and skin that he was meant to be at the head of a great, hulking giant upon whom the sun never set. Because it was night, now, and he was drunk. He felt very small, perhaps only a mouth. A lip or a tooth or a rough, inflamed bud on a dry white tongue slick with phlegm at the back, near the throat. The throat of a man with a sagging gut and thinning hair cropped so short. So , when that mouth opened up and coughed its vitriol at her, making some at the table a little uncomfortable, she understood the source of its anger, despite being the target. She waited for the buzz of her phone to excuse her and — in the meantime — quietly, politely, she understood him.

Orlando Whitfield: The Feel of Wealth

Thu, 16 Jan 2025 21:36:55 -0500

From the author’s terrific memoir “All That Glitters: A Story of Friendship, Fraud, and Fine Art”:

There is a rootlessness to the very wealthy in the twenty-first century, a floating ease in both place and time that is mirrored, or perhaps emboldened, by a certain kind of space. Oases devoid of responsibility or obligation allow one an escape from reality that is almost womb-like in its comfort. In the Connaught Bar, if you can bag a table (it was named ‘Best Bar in the World’ by a panel of so-called experts in 2020, the year in which, as I recall it, everyone had to stay home in order to get a load on), you will be surrounded by an international array of players united by one thing only: money.

As you walk in you will be greeted by a server in a school-uniform grey dress, black-patent-leather-belted primly at the waist. You’ll note the way piped music seeps into the room like an odorless gas, and the way the lighting, which manages somehow to maintain a crime scene luster whatever the weather outside, pools between the tables and chairs and glances off the glass table tops and brass fittings and the painted silver paneling. Think air travel in the 1960s with a touch of netherworld glamour. You’ve seen it in a movie. Have you got a reservation? We’re rather full tonight.

The guests are ensconced in cashmere and softly shrugging leather; crisp, dark denim in stark juxtaposition to the falsetto glint of diamonds and the low-energy glow of rose gold. Their torpor is somehow moribund, Bourne of the ennui that will always affect those for whom any kind of satisfaction is gratuitously imminent. The room shimmers non-Don status – the financial equivalent of diplomatic immunity — and they talk of elsewhere, always elsewhere, as if the present moment were fraught with some kind of difficulty.

Sun, 12 Jan 2025 13:48:00 -0500

Another superb Atlantic piece: “Walk on Air Against Your Better Judgment," in which Caitlin Flanagan writes beautifully about her own family’s connections to Seamus Heaney. Still grateful for the college semester I spent in the early 90s exploring Heaney’s striking poetry.

Year in Review: 2024

Fri, 27 Dec 2024 16:41:00 -0500

As I’ve done for the past few decades, I’m ending the year with a look back at some cultural highlights I found most fulfilling during the past 12 months:

Hitting the road with the kids: 2024 was a special year for family travel — an early summer trip to stay with relatives in San Francisco (a moment from there above), then a late summer stay with my sister just outside of D.C. Muir Woods, Presidio Tunnel Tops, the de Young, the Glenstone, MLK Memorial, National Gallery, and so much more. Great ages for the kids to experience both. Fortunate to have been able to do it.
Nonfiction books: “The Country of the Blind: A Memoir at the End of Sight," by Andrew Leland; “The Vanity Fair Diaries: 1983 – 1992” by Tina Brown; “All Things Are Too Small: Essays in Praise of Excess” by Becca Rothfeld; “The Dawn of Everything: A New History of Humanity” by David Graeber and David Wengrow; “The Message” by Ta-Nehisi Coates; “Kafka: Diaries” (translated by Ross Benjamin); “To Fall in Love, Drink This” by Alice Ferring; “Lovely One: A Memoir” by Ketanji Brown Jackson; and “The Contagion Next Time” by Sandro Galea.
Chunky, visual-heavy nonfiction books: “The Look of the Book: Jackets, Covers, and Art at the Edges of Literature” by Peter Mendelsund and David J. Alworth; “The Work of Art: How Something Comes from Nothing” by Adam Moss (an exceptional editorial mind); “I. M. Pei: Life Is Architecture” by Shirley Surya; “The Wes Anderson Collection” by Matt Zoller Seitz; “Branding: In Five and a Half Steps” by Michael Johnson; “How Design Makes Us Think and Feel and Do Things” by Sean Adams; and “Crossing the Line: Arthur Ashe at the 1968 US Open” (multiple editors/writers).
Novels: “The Fraud” by Zadie Smith; “Nonfiction” by Julie Myerson; “Intermezzo” by Sally Rooney; and “Catalina” by Karla Cornejo Villavicencio.
Books of poems: “Scattered Snows, to the North” by Carl Phillips and “A Film in Which I Play Everyone” by Mary Jo Bang, both STL-connected writers.
Books about what went wrong at Twitter: I should not have spent time reading two books on this subject, but they were interesting: “Battle for the Bird” by Kurt Wagner and “Character Limit: How Elon Musk Destroyed Twitter” by Kate Conger and Ryan Mac.
Rereading “Gilead”: Endures. Recommended for when you’ve just read two books about Twitter.
The William Gass Centenary: I spent many years writing about and promoting awareness and discussion of Bill’s work, and I had the great fortune of getting to know both Bill and Mary during the last decade of his long and productive life. In October, WashU organized a day-long event to mark what would have been Bill’s 100th birthday. While the Gass projects I launched over the years are set on a kind of permanent simmer, it was meaningful to re-immerse myself in the world of Bill’s writing. Videos and resources are available on the university’s centenary website.
Movies: I was deeply impressed and moved by “The Zone of Interest”; “The Taste of Things”; “Past Lives”; “Anatomy of a Fall”; “Petite Maman”; “Saint Omer”; “Aftersun”; and “His Three Daughters.” Also enjoyed “Killers of the Flower Moon”; “American Fiction”; “You Hurt My Feelings”; “Between the Temples”; “May December”; “Barbie”; “Oppenheimer”; “Maestro”; “Janet Planet”; “She Said”; “Showing Up”; “BlackBerry”; and “Dumb Money.” Temporarily engrossing: “Conclave.” Interesting docs: “Modernism, Inc.: The Eliot Noyes Design Story”; “Martha.”
Satisfying rewatches: “Marriage Story”; “Heat”; and “Kicking and Screaming” (prompted by The Rewatchables). Plus, with the kids, “Spellbound” and “The Princess Bride.”
Articles about the world: “Seventy Miles in the Darién Gap” by Caitlin Dickerson, The Atlantic; “Our Strange New Way of Witnessing Natural Disasters," by Brooke Jarvis, NYT Magazine; “The Forgotten History of Hitler’s Establishment Enablers,” by Adam Gopnik, The New Yorker; and “Unsafe Passage: A Palestinian Poet’s Perilious Journey Out of Gaza,” by Mosab Abu Toha, The New Yorker.
Articles about America: “What Will Become of American Civilization?" by George Packer, The Atlantic; “The Golden Age of American Jews Is Ending,” by Franklin Foer, The Atlantic; “The Man Who Died for the Liberal Arts," by David M. Shribman, The Atlantic; and “Shibboleth” by Zadie Smith, The New Yorker.
Personal essays: “On Cancer and Desire," by Annie Ernaux, The New Yorker; “The Birth of My Daughter, the Death of My Marriage” by Leslie Jamison, The New Yorker; “If My Dying Daughter Could Face Her Mortality, Why Couldn’t the Rest of Us?" by Sarah Wildman, NYT; and “Variations on the Theme of Silence," by my friend Jeannette Cooperman, The Common Reader.
Great match of medium and story: “She Slept With a Violin on Her Pillow. Her Dreams Came True in Italy," by Valeriya Safronova, with photographs and video by Sasha Arutyunova, NYT; “How Taylor Tomlinson Nailed Her Closing Joke," by Jason Zinoman, NYT.
TV shows: The show that made me smile the most all year was “Girls5Eva” (all seasons are streaming on Netflix). Huge fan as well of “Beef”; “The Bear” seasons 1 and 2; “Ripley”; “My Brilliant Friend” season 1; and “Fargo” season 5. Enjoyed “Magpie Murders” and “Bad Monkey.”
New Music: “Oh Smokey” from Clem Snide; “Manning Fireworks” from MJ Lenderman; “Charm” from Clairo; “Patterns in Repeat” from Laura Marling; “Hit Me Hard and Soft” from Billie Eilish; and “Chromakopia” from Tyler, The Creator. Doechii’s Tiny Desk performance was fierce.
New podcasts: My favorite new-to-me podcast this year was Talk Easy with Sam Fragoso. The host is wise beyond is years, does superb research and prep, and seems to quietly relish his good fortune of gently steering weighty conversations. (You can’t go wrong choosing an episode, but Fragoso’s conversation with Ocean Vuong was especially memorable, particularly for the author’s insights about youth and masculinity in America.) Another new discovery I enjoyed, as a former magazine EIC, was Print is Dead (Long Live Print). I can’t remember if I discovered it last year or this year, but I enjoy Jarrett Fuller’s Scratching the Surface podcast (as well as his blog).
A few podcast episodes: Bonnie Prince Billy talks through “I See a Darkness” on Life of a Record; The Wolf of Wine decodes his single “Quintin Tarantino”; Zadie Smith talks through “The Fraud” on Fresh Air; and the Dissect hip-hop aficionados talk through the Best Bars of 2024.
Connecting with two living artists: Any year when my wife Tamara presents a new exhibition is a good one, and this year saw her open “Delcy Morelos: Interwoven," at the Pulitzer Arts Foundation. Having our kids meet the Colombian artist, and hearing her talk astutely about her work, were highlights from the year. Grateful as well to meet Julie Blackmon, one of my favorite living photographers, and hear her discuss her distinctive Midwestern work at the Saint Louis Art Museum (thanks for the invite, JF).
Home tour with Laura Dewe Mathews: I have such admiration for Matt Gibberd and what he’s built with The Modern House — from the real estate listing website to the Homing In podcast to the publications, each one presented handsomely and with soul. In the summer, Matt shared a video interview and tour he did with architect Laura Dewe Mathews. I was thinking back to this one in particular, because Mathews' lovely home is known locally as “the gingerbread house” — and our kids are asking to begin nibbling away at theirs.

With that, sending best wishes to you in the new year.

Wed, 18 Dec 2024 23:41:31 -0500

What a document, and statement, from Darwin: “I think.” From “The Notebook: A History of Thinking on Paper” by Roland Allen.

Sat, 26 Oct 2024 18:16:07 -0500

From Ta-Nehisi Coates’s “The Message,” which I just finished:

Great canons angle toward great power, and the great privilege of great power is an incuriosity about those who lack it.

Sat, 19 Oct 2024 14:49:03 -0500

Just finished a quick read of “Character Limit: How Elon Musk Destroyed Twitter,” by Kate Conger and Ryan Mac. A single sentence from the final third, describing yet another moment of chaos and spite, revealed something larger about the repugnant title character’s worldview: “And yet, Musk enjoyed the madness.”

Mon, 07 Oct 2024 21:43:39 -0500

From “I. M. Pei: Life Is Architecture,” a beautifully designed new volume by Shirley Surya and Aric Chen, a story of insistence driving invention:

Wary of the greenish tint characteristic of commercially available glass, Pei insisted on using a completely clear alternative for the Louvre’s pyramid. Along with President Mitterrand’s intervention, this led France’s largest glass manufacturer, Saint-Gobain, to devise an entirely new production process for large-scale manufacturing. Beginning by sourcing pure white sand from Fontainebleau, Saint-Gobain proceeded to develop a specialised furnace that reduces the amount of the naturally occurring iron oxide in the glass formula, eliminating the source of the green hue. The 675 diamond and 118 triangular panes were transported to a factory in the United Kingdom that was able to polish their surfaces to perfect planarity, achieving flawless results with optical properties close to those of crystal. (Photo)

Wed, 02 Oct 2024 18:49:43 -0500

Excellent recent interviews with Ta-Nehisi Coates by Jon Stewart and Terry Gross. Have ordered “The Message” and can’t wait to start reading.

New Poems from Carl Phillips

Sun, 22 Sep 2024 20:03:46 -0500

Spent a lovely few weeks making my way, intentionally slowly, through Carl Phillips’s new book of poetry, “Scattered Snows, to the North”. A huge fan of his sensitive, fluid-with-pauses work. A few lines I was especially struck by (though reading the original in print, with line breaks, is preferred):

From “Thicket”:

It’s a quiet night—quiet / the way the animals here, east / of touch, but slightly north, / still, of penetration, live / mostly quiet. Most disappear.

From “Career”:

What if all the truth is / is an over-washed sweatshirt, sometimes on / purpose worn inside out?

From “Back Soon; Driving”:

The way the present cuts into history, / or how the future can look at first / like the past sweeping through, there / are blizzards, and there are blizzards. / Some contain us; some we carry / within us until they die, when we do.

Sun, 15 Sep 2024 09:29:24 -0500

Toni Morrison, in a 1975 lecture, quoted by Ketanji Brown Jackson in her new memoir, “Lovely One”, which I’m reading now:

The function, the very serious function of racism … is distraction. It keeps you explaining, over and over again, your reason for being. Somebody says you have no language and so you spend twenty years proving that you do. Somebody says your head isn’t shaped property so you have scientists working on the fact that it is. Somebody says you have no art, so you dredge that up. Somebody says that you have no kingdoms, and so you dredge that up. None of that is necessary. There will always be one more thing.

“Studio Culture Now”

Mon, 09 Sep 2024 20:37:02 -0500

Paging back through the Kickstarter-backed “Studio Culture Now” from Unit Editions and realized I neglected to note it here. It’s an enjoyable volume featuring indie design studio heads talking shop. A few themes:

There’s freedom in staying small.
Having a nice workspace is a plus, but too much overhead’s a crusher.
Output matters, but so does process, leadership, and owning your POV.
Social posts and basic PDFs can aid business development more than a high-maintenance, glacially updated website.
You can find success based anywhere, but be engaged with the field and your community.

Tina Brown: “America needs editing.”

Sun, 02 Jun 2024 10:03:43 -0500

What pure pleasure this book was to read: The Vanity Fair Dairies: 1983 - 1992 by Tina Brown. I love on-the-job memoirs/journals, especially anything rooted in the editorial world. The entries are zippy, yet considered — a decade of moments jotted down after whirlwind days. Brown’s a sharp observer and summarizer, and a deft workplace strategist.

A few passages, all from the mid-1980s:

I went for a drink at the Algonquin with Wallace Shawn, the editor of The New Yorker’s son, who I have been told wants to write. I loved his creaky voice and twinkly, creased-up eyes. He’s like a small, anxious hippo, so full of quotable insights. “America has no memory,” he explained. “Nothing LEADS to anything in New York.”

Had a terrific drink tonight with Tom Wolfe, who is tall and thin like a candle in his white suit, with a dryness suddenly illuminated by shafts of pure malice.

A drink with Martin, who is passing through, made me realize how much I miss Englishness. I had a sudden pang for Oxford days when we lay in the little single bed in my St. Anne’s room in the Woodstock Road, doting on Larkin’s sentences in “The Whitsun Weddings.” I thought of London spread out in the sun / Its postal districts packed like squares of wheat. My ideal place to live would be Transatlantica, an island that combined English irony, country lanes in summer, the National Theatre, and a real pot of tea they never seem to be able to make here, with American openness, lack of class barriers, willingness to give away money to good causes, and the view of Manhattan from the Rainbow Room at the top of Rockefeller Center. I miss the pleasing streak of delinquency in the English character.

The change of the seasons from brutal cold to sudden heat made me think of the sweet decorum of our London patio in the spring, the rhododendron bushes drowsy with raindrops. I long for the English countryside in ways I never did when I lived there. I suddenly see the great country houses that gave us so much irreverent copy at Tatler as a rich national resource, custodians of passing time. Here, time is to be spent, like money; time is to be killed, time is to be forgotten. Everything is a race against time. Trying to beat it is the pressure at your throat. I dream of London’s manageable scale, its compactness, its conversation. America is too big, too rich, too driven. America needs editing.

Sun, 28 Jan 2024 10:36:39 -0500

Good timing from the NYT — I’ve been wondering about the story behind the day-improving @artbutmakeitsports account. (No, he doesn’t use AI.) In the spirit of doubles, his work brings me back to reading Lawrence Weschler’s wonderful “Everything That Rises: A Book of Convergences” 15 years ago.

Year in Review: 2023

Sat, 30 Dec 2023 14:26:59 -0500

Continuing a 23-year tradition of rounding up cultural highlights from the past 12 months, here’s a recap for 2023:

15 Books I Especially Loved This Year

An Additional Batch I Enjoyed

(That first hard-to-ID book is “Pentagram: Living By Design," which I had to scramble to procure before it sold out. The brown one in the middle column is “Scaling People”, a terrific book about team- and company-building. The full list of what I read in 2023 is here.)

TV
Especially grateful for “Succession” (a perfect close), “Patriot” (committed to its singular vision), “Reservation Dogs” (often profound and goofy within the same shot), and “Slow Horses.” Enjoyed “Jury Duty,” “Fleishman Is in Trouble," and “Vienna Blood.” “The Diplomat” was fun in parts.

Movies
Each year it’s a fresh bummer to have seen so few new movies, considering how many my wife and I used to see pre-kids. In terms of what I saw: I loved every minute of “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” and also really liked “The Banshees of Inisherein” and “A Quiet Passion.” Two good docs: “Beckham,” “Navalny.” “The Killer” was well-made, but I wondered why I was spending time on that subject. Enjoyed rewatching “Tár” and “After Yang” and “Karate Kid” (Leo screening). Couldn’t get excited about “Mission: Impossible,” except for that last extended escape-the-train scene. Wish I liked more: “Asteroid City." “Air" was entertaining, but didn’t quite seem like a full movie.

Music
Enjoyed new albums from Joanna Sternberg, Youth Lagoon, boygenius, Mitski, Killer Mike, and Veeze (a discovery for me).

Podcasts
New-to-me this year: “Heavyweight” (so late to this; now cancelled : / ), “The CITY Voice,” “After Hours,” “The Power of Teamwork” (it was fun to have pitched this to Adobe; congrats to my former colleagues on S2) and “Dissect”’s deep dive into Radiohead’s “In Rainbows.”

Articles & Essays
A few highlights from The New Yorker: “Words Fail," by Rachel Aviv; “The Fugitive Princesses of Dubai," by Heidi Blake; “The Greatest Showman," by Alex Ross. A few standouts from The Atlantic, which gets better every year: “We’re Already in the Metaverse," by Megan Garber; “The Moral Case Against Equity Language," by George Packer; “The Resilience Gap," by Jill Filipvic; and “Black Success, White Backlash” by Elijah Anderson.

Visual Art
Not a lot of museum-going this year (or travel, which often leads to it). But it’s always such a pleasure to see my wife Tamara open a show at the Pulitzer Arts Foundation. Pictured: Opening night at “Faye HeavyShield: Confluences," with our kids vying for the spotlight.

A Song That Struck Me
In many of these year-end posts I include an especially memorable songwriter discovery (Weyes Blood, Haley Heynderickx). This year in his Substack newsletter, Jeff Tweedy mentioned that the band keeps a Spotify playlist where they share music they’ve been enjoying. While streaming that mix in the background, a song called “Life According to Raechel” by Madison Cunningham stopped me cold. Many repeat listens that day, and days after. Here’s a solo version to share with you, followed by one with an ensemble:

Happy New Year, and best wishes for an enjoyable 2024.

Interrogating Privilege

Sun, 24 Sep 2023 18:20:04 -0500

From Nick McDonell’s new book “Quiet Street: On American Privilege”:

Such skills arose not from any extraordinary talent or discipline but from the enormous resources invested in each child. And though I have here emphasized traditionally highbrow skills, we were groomed to be comfortable at every level of culture, in every room—to appreciate Taylor Swift as well as Tchaikovsky, to make small talk with the custodian as well as the senator. The deeper lessons were confidence, poise in any context, what sociologist Shamus Rahman Khan calls ease. Old-fashioned exclusionary markers could in fact be a liability, in the same way an all-white classroom was. All the world was ours not because of what we excluded or inherited but because of our open-minded good manners and how hard we worked—which, all agreed, was very hard indeed. This superficial meritocracy masked, especially to ourselves, a profound entitlement.

Reading McDonell’s slim memoir brought to mind one of my all-time favorite works of nonfiction, “Lost Property: Memoirs and Confessions of a Bad Boy”, Ben Sonnenberg’s high-culture self-flaying that begins this way: “I was a Collectors’ Child.”

The authors are very different people (as were their parents, consequentially), but they share an interest in examining what privilege has done to them. I grabbed “Lost Property” from the shelf and found a squiggle next to this passage of homecoming.

For once in my life I liked going to 19 Gramercy Park, going there with my wife and baby daughter. My mother and father loved Alice, and I loved showing Alice where I’d grown up and showing off to the servants. One afternoon, watching Susy, on the needle-point rug, in the paneled library, I rememberd how once at a dealer’s, a decripit old collector came, with his young wife and new baby, to inspect a white-figure wine jug of the fourth century B.C. The baby pulled at something, the lekythos nearly fell, and from the way the collector looked, I knew if he had had to choose between the vase and his baby, the baby would be dead. I’m not like that, thank goodness, I thought, watching Susy on the rug, watching my parents watching me, turning my foot from side to side, catching the light on my shoe.

Thu, 07 Sep 2023 19:47:04 -0500

Fantastic, instructive book: “Scaling People: Tactics for Management and Company Building," by Claire Hughes Johnson. She’s a real-deal practitioner, and many of these lessons trace back to her infrastructural work at Stripe, which she helped grow. The book’s focus is on the operating principles to create within an organization — “how to create and embed the systems that help build a company you can be proud of.” (Since her primary reference point is Stripe, having a “writing culture” plays a role.)

Sun, 02 Jul 2023 18:21:50 -0500

Prompted by this Jarrett Fuller post, I scooped up and quickly read “Two-Dimensional Man: A Graphic Memoir” by Paul Sahre. Funny, poignant at times — a great read for any creator. The memoir includes a good deal of striking work shown between prose pages, including several book covers I’ve long admired. You can get a good sense of Sahre’s sensibility by knowing that when he officialy launched his solo design business — the Office of Paul Sahre — he embraced its unintended acronym: O.O.P.S.

Sat, 01 Jul 2023 19:31:59 -0500

One of the best books I’ve read this year: “The Emperor of All Maladies: A Biography of Cancer," by Siddhartha Mukherjee. What an immensely impressive person: a first-class physician-scientist who’s also an exceptional storyteller with a deeply literary sensibility.

Sat, 01 Jul 2023 18:14:07 -0500

In love with just about every one of these Janet Hansen-designed book covers.

Cormac McCarthy, RIP

Wed, 14 Jun 2023 21:41:48 -0500

After learning that Cormac McCarthy had died, I went back to my squiggled-up copy of “Suttree,” which of all his novels is the one that moved me most. I first read it in the fall of 2002, right after being whalloped by “Blood Meridian,” and it’s never left me.

Here’s the title character, assessing the unforgettable Gene Harrogate, comically pitiable yet not only that:

Suttree looked at him. He was not lovable. This adenoidal leptosome that crouched above his bed like a wizened bird, his razorous shoulderblades, jutting in the thin cloth of his striped shirt. Sly, ratfaced, a convicted pervert of a botanical bent. Who would do worse when in the world again. Bet on it. But something in him so transparent, something vulnerable. As he looked back at Suttree with his almost witless equanimity his naked face was suddenly taken away in darkness.

Later, McCarthy writes of Suttree dreaming, in a passage rich with equisitely chosen nouns and verbs:

Down the nightworld of his starved mind cool scarves of fishes went veering, winnowing the salt shot that rose columnar toward rifts in the ice overhead. Sinking in a cold jade sea where bubbles shuttled toward the polar sun. Shoals of char ribboned off brightly and the ocean swell heaved with the world’s turning and he could see the sun go bleared and fade beyond the windswept panes of ice. Under a waste more mute than the moon’s face, where alabaster seabears cruise the salt and icegreen deeps.

Sun, 04 Jun 2023 11:32:02 -0500

I found a good amount of Ben Smith’s briskly paced new book “Traffic: Genius, Rivalry, and Delusion in the Billion-Dollar Race to Go Viral” disheartening, in considering the vast amount of energy often bright (not always cynical) people were putting into voraciously attracting and retaining eyeballs with puffs of briefly entertaining trifles (some of which I also hungrily clicked on, and will do so again). Smith shares a number of interesting stories, both from his time observing and then working from within this particular type of machine. This was my favorite small detail, in which Smith recalls what happened after he joined the rising BuzzFeed media empire (after first turning the offer down) and pressed publish on his debut piece, “Welcome to BuzzFeed Politics,” setting the tone for a significant new social news organiziation:

Then I went to check the page: it was nearly illegible, the lines almost on top of each other. BuzzFeed had never before published a full paragraph.

Sun, 28 May 2023 19:42:58 -0500

Fantastic interview on the Time Sensitive podcast with a writer I admire: “Jelani Cobb on 50 Years of Hip-Hop and the Future of Journalism.”

Sun, 21 May 2023 14:45:15 -0500

I have a few minor quibbles with Cormac McCarthy’s recent sharp and memorable novel “Stella Maris”, but listening to the audio version — two characters in dialogue throughout — was the ideal way to take it in.

Sun, 07 May 2023 15:16:20 -0500

We modern-day humans tend to exaggerate our differences. The results of such exaggerations are often catastrophic.

— From “The Dawn of Everything,” by David Graeber and David Wengrow

Mon, 10 Apr 2023 21:19:51 -0500

In Esquire, “Behind the Scenes of Barack Obama’s Reading Lists”:

The question of how the most powerful man on the planet found time to read Fates and Furies amid major world events like the Arab Spring and the killing of Osama bin Laden is a perfectly valid reason for skepticism—the guy was and is busy!—but Schultz says Obama found time to read because he sees reading as necessary, and he makes it a priority on his schedule. “He considered [reading] part of being a good leader, part of being a good president, part of being a good father, a good husband, and a good man,” Schultz said.

Sun, 12 Feb 2023 17:08:44 -0500

“Pentagram: Living by Design,” the exquisite-looking 50-year history of the iconic design studio, has landed at my house. Published by United Editions. Can’t wait.

Fri, 30 Dec 2022 08:48:05 -0500

Since 2000, I’ve been publishing a kind of year in review — mainly cultural highlights from the prior 12 months, along with a few personal notes. Here’s my post for 2022.

Julie Blackmon and Convergences

Tue, 27 Dec 2022 21:33:06 -0500

In the mid–2000s, I was completely taken by the book “Everything That Rises: A Book of Convergences,” written by Lawrence Weschler and beautifully published by McSweeney’s. Weschler surfaced “strange connections” between images and wrote about them intriguingly. I still think of the book when I come across an image — a photograph, a painting, a movie moment — that brings to mind another one.

I spent part of this evening with Julie Blackmon’s absorbing book of photographs, “Midwest Materials.” Blackmon has some intentional allusions in her photographs, but others I think just come from the consciousness of the viewer.

There’s something, for instance, about the turf and peculiar (and menacing) objects in her photograph “Spray Paint” that brings to mind Bong Joon-ho’s “Parasite” (picture the poster, and the final 30 minutes).

Or, seen below, “Snow Days,” which immediately brought me back to a moment in Tarkovsky’s “Mirror,” which I recently rewatched and posted about early in the month:

I realize there’s a risk in it seeming like I’m undervaluing the originality of one work by graphing it over another. But one of the pleasures I get in taking in art of all kinds is not just the pieces themselves — which I’m grateful for individually — but for how they intermingle in my mind.

“The Power Broker”

Mon, 26 Dec 2022 12:19:19 -0500

Book-wise, I will remember 2022 as the year I read (and listened to) Robert Caro’s massive and magisterial (and long-lauded) biography of Robert Moses, “The Power Broker,” first published in 1974. It’s not just the scale and depth of the research, but the skill with which Caro builds sentences and paragraphs that build his argument. For example:

To compare the works of Robert Moses to the works of man, one has to compare them not to the works of individual men but to the combined total work of an era. The yardstick by which his public housing and Title I feats can best be measured, for example, is the Age of Skyscrapers, reared up the great masses of stone and steel and concrete over Manhattan in quantity comparable to his. The yardstick by which the influence of his highways can be gauged is the Age of Railroads. But Robert Moses did build only housing projects and highways. Robert Moses built parks ane playgrounds and beaches and parking lots and cultural centers and civic centers and a United Nations Building and a Shea Stadium and a Coliseum and swept away neighborhoods to clear the way for a Lincoln Center and the mid-city campuses of four separate universities. He was a shaper not of sections of a city but of a city. He was, for the greatest city in the Western world, the city shaper, the only city shaper. In sheer physical impact on New York and the entire New York metropolitan region, he is comparable not to the works of any man or group of men or even generations of men. In the shaping of New York, Robert Moses was comparable only to some elemental force of nature.

Nature can be cruel. Moses could as well.

Sun, 11 Dec 2022 21:44:16 -0500

Astute, probing, and personal: A recent Sally Rooney address on “Ulysses,” published on The Paris Review’s website.

Fri, 11 Nov 2022 21:20:30 -0500

Ezra Klein talks with George Saunders: Saunders just nails the sudden inner-life, world-expanding improvements that reading good fiction can provide.

“Knowing Wink”

Sun, 28 Aug 2022 20:41:16 -0500

Being a decade-long Monocle subscriber and a fan of exploring how agencies document their work, I was happy to get my hands on Knowing Wink, first published in 2018 by Winkreative, the media org’s sister agency. Turns out it was as easy as sending them a nice email and asking how I could order it; they popped one in the mail with thanks for the interest. The chunky, nice-to-the-touch volume highlights 20 years of work from the boutique firm. Smart, crisply designed work confidently presented.

Sun, 21 Aug 2022 21:22:15 -0500

In his concise and incisive book What Tech Calls Thinking, Adrian Daub examines and punctures a range of tech proclamations and tropes that many of us have just gotten used to hearing in recent decades.

That may sound sober, but it was an engaging read. Here’s Daub — a Stanford professor who’s primarily focused on the humanities — on Ayn Rand (whom he writes about in the context of Elon Musk, Peter Thiel, and Pixar):

In other words, there is a weird (and acknowledged) tendency here to treat an effort like architecture, which by definition requires a group and—dare I say it—collectives, as though it were the art that an individual makes in the solitude of a studio or a favorite writing nook. This is what historians of ideas call a ‘genius aesthetic’: it describes our tendency to think that the meaning of a work of art comes out of the specific mind of its creator, not out of the preexisting rules that creator worked within nor the broader spirit of the society and time. When you’re talking about a novel, that makes a certain amount of sense. But Rand extended this sense of individual brilliance to some of humanity’s most communal undertakings. Have you ever looked at a rail line and thought, I wonder what the one genius who decided to build a bridge over this valley was thinking? Rand has. And notice that, thanks to Elon Musk, we actually finally do have a billionaire whose weird tunnel-boring projects are basically a form of performance art—a pure emanation of individual genius, and sort of useless to anyone else.

"What's Good: Notes on Rap and Language”

Sat, 11 Jun 2022 21:34:00 -0500

What a supremely fine and lovingly crafted book this was. Astute, admiring, and entertaining scrutiny of decades of rap lyrics. Huge kudos to author Daniel Levin Becker. A few especially great passages I drew circles around in my copy:

I will go to my grave wishing my self-conscious rhetorical throat-clearings could sound so cool. What Nas seems to toss off here is not just a very efficient overview of the themes he’s spent his career elaborating—decadence, gunplay, activism, divinity—but also a rare window onto his composition process, his creative deliberations, the whole inner monologue around medium and message that is at once so tantalizing in a rapper and so often viewed as beside the point. Most of all, though, what I hear in it is a true statement about what it’s like to speak on something so much bigger than yourself, so much more expansive than the present, something inexhaustible and infinite that is also right here. It’s what it feels like, for me, to put words to a way with words that so often leaves me, before the rest colors itself in, speechless.

And:

All the discrete and interwoven pattern recognitions in this book, assembled with joy and leaving me no closer to a unified theory of how it all fits together, seem to be proof of rap’s multitudes, its dynamism, its knack for illuminating a bigger picture by obscuring many smaller ones. This is what the best art does, and I think it’s also why we play with puzzles. It’s not about the completed image, but about the slow, oddly suspenseful progress we make toward resolution and completeness—otherwise we’d just look at the picture on the box the puzzle comes in, right? There is so much in the world that is at least provisionally more awesome, more arresting, more puzzling than good. The endlessly deferred promise of understanding, being in the dark and working ever toward the light, just might be what makes the whole thing, impossibly, float.

Fri, 07 Jan 2022 20:49:00 -0500

I was knocked out by Teju Cole’s Blind Spot in 2017. Just finished Black Paper: Writing in a Dark Time, and it’ll surely be a highlight of 2022. Sensitive, probing essays about humanity and the humanities. Such a privilege to be in his close-looking company. 📚

Year in Review: 2021

Sat, 01 Jan 2022 01:00:00 -0500

Since 2000, I’ve had a year-end tradition of sharing my cultural highlights of the past 12 months. For this year’s post, I’ll first note the major life change I had in 2021.

After eight years leading comms and marketing for the nonprofit conservancy Forest Park Forever, I re-entered the agency world this summer by joining The Stoke Group, a fully distributed digital marketing and content studio that focuses on the B2B tech sector.

As the Senior Director of Editorial Content, I spend most of my time on editorial projects for Adobe (a key client, and one that values great writing and design), as well as helping produce the video podcast Real Creative Leadership with its host, Adam Morgan. While I miss the connection to my St. Louis community, I’m enjoying working with strategists, writers, and designers on content work for large global clients. I hadn’t worked with clients at this scale or in this specific sector, so it’s been broadening in the way I hoped. The team’s packed with interesting, talented, upbeat people.

With that 2021 milestone covered, here’s a look at some cultural-intake highlights from the year:

Books: Fiction

1. Lanny, Max Porter

2. Second Place, Rachel Cusk

3. Leave the World Behind, Rumaan Alam

4. The Copenhagen Trilogy, Tove Ditlevsen

5. Whereabouts, Jhumpa Lahiri

6. The Morning Star, Karl Ove Knausgaard

7. Beautiful World, Where Are You, Sally Rooney

8. The Sellout, Paul Beatty

9. Tenth of December, George Saunders

10. My Heart, Semezdin Mehmedinović

11. Fox 8, George Saunders

12. The Carrying: Poems, Ada Limon

13. New Teeth, Simon Rich

Books: Non-Fiction

1. Counterpoint: A Memoir of Bach and Mourning, Philip Kennicott

2. The Most Fun Thing: Dispatches from a Skateboard Life, Kyle Beachy

3. Seventy-nine Short Essays on Design, Michael Bierut

4. Suppose a Sentence: Brian Dillon

5. Hannah Wilke: Art for Life’s Sake (Eds., Tamara Schenkenberg and Donna Wingate)

6. Three Women, Lisa Taddeo

7. They Can’t Kill Us Until They Kill Us, Hanif Abdurraqib

8. The Free World: Art and Thought in the Cold War, Louis Menand

9. Of Human Kindness: What Shakespeare Teaches Us About Empathy, Paula Marantz Cohen

10. Major Labels: A History of Popular Music in Seven Genres, Kelefa Sanneh

11. The Monocle Book of Homes (Monocle)

12. The Innovation Stack: Building an Unbeatable Business One Crazy Idea at a Time, Jim McKelvey

13. Studio Culture Now (Ed. Mark Sinclair)

14. The Chancellor: The Remarkable Odyssey of Angela Merkel, Kati Marton

15. Paul Thomas Anderson: Masterworks, Adam Nayman

16. This Isn’t Happening: Radiohead’s “Kid A” and the Beginning of the 21st Century, Steven Hyden

17. After the Fall: Being American in the World We’ve Made, Ben Rhodes

18. Vesper Flights, Helen Macdonald

19. An Ugly Truth: Inside Facebook’s Battle for Domination, Sheera Frenkel and Cecilia Kang

20. The Master: The Long Run and Beautiful Game of Roger Federer, Christopher Clarey

21. Proustian Uncertainties, Saul Friedländer

22. Seeing Serena, Gerald Marzorati

23. Graphic Life, Michael Gericke

24. How to Raise an Adult, Julie Lythcott-Haims

25. Self-Reliance, Ralph Waldo Emerson, paired with Twelve New Essays by Jessica Helfand

26. Power Play: Tesla, Elon Musk, and the Bet of the Century, Tim Higgins

27. The Defining Moment: FDR’s Hundred Days and the Triumph of Hope, Jonathan Alter

28. No Rules Rules: Netflix and the Culture of Reinvention, Reed Hastings and Erin Meyer

29. Think Again: The Power of Knowing What You Don’t Know, Adam Grant

30. Sorry Spock, Emotions Drive Business, Adam W. Morgan

Movies

1. The French Dispatch

2. Cold War

3. Certain Women

4. Meek’s Cutoff

5. The Power of the Dog

6. Ma Rainey’s Black Bottom

7. Let Them All Talk

8. The Farewell

9. To the Wonder

10. Citizenfour

11. In One Breath: Alexander Sokurov’s Russian Ark

12. Biggie: I Got A Story to Tell

13. Mies

14. Untold: Breaking Point

15. WeWork: or The Making and Breaking of a $47 Billion Unicorn

1. Succession, Season 3

2. The Bureau, Season 1

3. Ted Lasso, Season 2

4. Great British Baking Show, Season 12

5. The Chair

6. Only Murders in the Building

7. The Other Two, Seasons 1 and 2

8. This Is a Robbery: The World’s Biggest Art Heist

9. Lupin, Season 1

Podcasts
New finds I enjoyed this year: A Change of Brand, Conversations with Tyler, and The CMO Podcast. The Two Month Review’s podcast series on William Gaddis's J R delivered a ton of insights and smiles during the first few months of 2021.

Visual Art
This was the second year in a row with little travel (which often prompts new art-viewing) and sadly little museum-going here at home (that’s on me). That said, and acknowledging my bias, the exhibition Hannah Wilke: Art for Life's Sake — curated by my wife, Tamara H. Schenkenberg, at the Pulitzer Arts Foundation — gained in richness and meaning every time I saw it. If you’re here in St. Louis, I highly encourage a visit before its January 16 close.

Music
A million years ago, my year-end lists included dozens of individual albums and concerts. While music’s a daily essential for me, I see almost nothing live and dip in and out of all kinds of new things I learn about, often without good record-keeping.

I usually work listening to classical, then jazz is on in the evening. The only specific new recordings I’d surface this year are the terrific records from Tyler, the Creator, Lucy Dacus, and Julien Baker. Phoebe Bridgers didn’t have a new album, but I loved her live Pitchfork Festival set that I happened to catch the evening it streamed.

In terms of new discoveries, there was one artist — and one song — that I’ll long connect with 2021: “A Lot’s Gonna Change” by Weyes Blood (Natalie Laura Mering). I was introduced to this singer/songwriter through a Spotify station as I drove on an errand of some kind. I was transfixed.

At about 1:20, Mering sings the title phrase — “A lot’s gonna change / in your …. life / … time.” — and it swallowed me up in the way great song moments do. Likely because my wife and I spend so much of our non-working time focused on raising our young kids and thinking about what their future lives will be like, the line took on all kinds poignancy and significance in the seconds I heard it.

Later on, the second time that part of the song comes around (2:55 in the video above), Mering sings, “‘Cause you’ve got what it takes / in your … life / … time.”

Here’s to the time we’ve got ahead of us in 2022.

Tue, 28 Dec 2021 10:15:00 -0500

From my Christmas wish list to under the tree: Self-Reliance. That “I” is just perfection. Designed by Jessica Helfand and Jarrett Fuller. 📚

Fri, 26 Nov 2021 11:25:00 -0500

Enjoyed The Chancellor by Kati Marton. Qualities vital to Merkel’s rise and 16-year tenure: endurance, humility, steeliness, patience, calm. (She once described herself, as she stood next to the high-energy, publicity-seeking Sarkozy, as an “energy-conserving lamp.”) 📚

Year in Review: 2020

Fri, 01 Jan 2021 00:00:00 -0500

*Sylvie, sipping through a backyard quarantine concert by a friend and SLSO musician*

Year 20 of my annual cultural-recap tradition was quite something.

Thus far my family’s had good fortune amid the global pandemic, so we’re spending most of our time feeling grateful, yet exhausted, then grateful, yet exhausted.

With lots of time at home, there was some enjoyable culture to take in. Here’s a look at some highlights:

Books

The Source of Self-Regard: Selected Essays, Speeches & Meditations, Toni Morrison
Uncanny Valley: A Memoir, Anna Wiener
Our Man: Richard Holbrooke and the End of the American Century, George Packer
Having and Being Had: Eula Biss
My Parents: An Introduction, Aleksandar Hemon
Minor Feelings: An Asian American Reckoning, Cathy Park Hong
Weather, Jenny Offill
Promised Land, Barack Obama
Then the Fish Swallowed Him, Amir Ahmadi Arian
Jack, Marilyn Robinson
My Life in France, Julia Child
Severance, Ling Ma
Caste: The Origins of Our Discontents, Isabel Wilkerson
Luster, Raven Leilani
Intimations, Zadie Smith
Monocle: How to Make a Nation
The Passion Economy, Adam Davidson
These Fevered Days: Ten Pivotal Moments in the Making of Emily Dickinson, Martha Ackmann
Wine Simple, Aldo Sohm
Normal People, Sally Rooney
The Lying Lives of Adults, Elena Ferrante
Girl, Edna O’Brien
Lurking: How a Person Became a User, Joanne McNeil
How to Be a Family, Dan Kois
Mies van der Rohe, Edith Farnsworth, and the Fight Over a Modernist Masterpiece, Alex Beam
The Secret Lives of Color, Kassia St. Clair
No Filter: The Inside Story of Instagram, Sarah Frier
Go Ahead in the Rain: Notes to A Tribe Called Quest, Hanif Abdurraqub
How to Write One Song, Jeff Tweedy
How Architecture Works, Witold Rybczynski
Dark Mirror: Edward Snowden and the American Surveillance State, Barton Gellman
To Start a War, Robert Draper
The Spy Masters: How the CIA Directors Shape History and the Future, Chris Whipple
Agent Running in the Field, John le Carré
The Monocle Guide to Better Living
Hell and Other Destinations, Madeline Albright
The Ride of a Lifetime, Robert Iger
Bitter Brew, William Knoedelseder

Movies

Portrait of a Lady on Fire (exquisite, perfect)
Parasite
Booksmart
Marriage Story
Little Women
Uncut Gems
1917
Meyerowitz Stories: New & Collected
The Irishman
The Trip to Greece
Palm Springs
Rams
Knives Out
The Other Guys
Maggie’s Plan
Shoplifters
Spider-Man: Into the Spider-Verse
The Price of Everything
Ford v. Ferrari
Despicable Me

TV Shows

Better Call Saul, Seasons 4 and 5
Atlanta, Seasons 1 and 2
Schitt’s Creek, All Seasons
Never Have I Ever
Call My Agent, Season 1
Roadkill
Devs
Great British Bake-Off, Season 6 and 8
Ted Lasso

Visual Art
I can’t recall a year when I saw less art — whether here in St. Louis or in cities we didn’t travel to. With that unfortunate reality, I’m especially grateful to have been able to see the fantastic exhibition “Terry Adkins: Resounding” at the Pulitzer this summer.

Podcasts
Favorite new discoveries: The Modern House Podcast, Distributed, with Matt Mullenweg, Siegel+Gale Says, and Simplicity Talks. Valuable mood-improver for 2020: Conan O’Brien Needs a Friend.

Music
My Spotify’s a shared-with-kids mess, and for loads of weekly hours I stream jazz and classical music that I don’t make a note of to be recalled. That said, I did especially enjoy new records from Fiona Apple, Phoebe Bridgers, Adrianne Lenker, Jeff Tweedy, Lomelda, Bob Dylan, Run the Jewels, and Freddie Gibbs & The Alchemist. I’m grateful to have been turned on to the music of Big Thief, Harold Budd (via the e-newsletter Flow State), Eleanor Bindman, and Haley Heynderickx, whose “Oom Sha La La” always brightened our family’s quarantine, with the kids screaming and jumping along to the swelling refrain, “I need to start a garden!” Here’s to what’s to come.

Fri, 06 Nov 2020 22:24:00 -0500

Latest rave: the new Aleksandar Hemon book, "My Parents: An Introduction / This Does Not Belong to You." Moving, funny. You get the sense Hemon has thought deeply about the moments he puts to paper.

Toni Morrison's Exquisite Nonfiction

Fri, 06 Mar 2020 21:51:00 -0500

I just finished Toni Morrison’s The Source of Self-Regard: Selected Essays, Speeches, and Meditations (2019), and every few pages or so, I thought to myself: it’s rare I’m taking in prose this rhythmically perfect, this deeply intelligent.

From “Peril” (2008):

How bleak, unlivable, insufferable existence becomes when we are deprived of artwork. That the life and work of writers facing peril must be protected is urgent, but along with that urgency we should remind ourselves that their absence, the choking off of a writer’s work, its cruel amputation, is of equal peril to us. The rescue we extend to them is a generosity to ourselves….
Certain kinds of trauma visited on peoples are so deep, so cruel, that unlike money, unlike vengeance, even unlike justice, or rights, or the goodwill of others, only writers can translate such trauma and turn sorry into meaning, sharpening the moral imagination.

From Morrison’s 1998 Sarah Lawrence Commencement Address:

If I spend my life despising you because of your race, or class, or religion, I become your slave. If you spend yours hating me for similar reasons, it is because you are my slave. I own your energy, your fear, your intellect. I determine where you live, how you live, what your work is, your definition of excellence, and I set limits to your ability to love. I will have shaped your life. That is the gift of your hatred; you are mine….
We are already live-chosen by ourselves. Humans, and as far as we know there are no others. We are the moral inhabitants of the galaxy. Why trash that magnificent obligation after working so hard in the womb to assume it? You will be in positions that matter. Positions in which you can decide the nature and quality of other people’s lives. Your errors may be irrevocable. So when you enter those places of trust, or power, dream a little before you think, so your thoughts, your solutions, your directions, your choices about who lives and who doesn’t, about who flourishes and who doesn’t will be worth the very sacred life you have chosen to live. You are not helpless. You are not heartless. And you have time.

Lastly, here is the oft-quoted passage from Morrison’s 1993 Nobel Lecture in Literature:

We die. That may be the meaning of life. But we do language. That may be the measure of our lives.

Charles and Ray, Designers From the Near Future

Sat, 31 Aug 2019 07:38:46 -0500

Loved this passage from Sam Jacob’s essay “Context as Destiny: The Eameses from Californian Dreams to the Californiafication of Everywhere,” published in the satisfyingly chunky The World of Charles and Ray Eames (2016):

For architects and designers like [Peter and Alison Smithson, who were British], the Eameses’ Californian-ness opened a dazzlingly bright window into another world, a sun-kissed world far from the origins of European modernism weighed down by all that Old War baggage — by history, politics and war, by notions of an avant-garde, by post-war reconstruction and the serious politics of the welfare state.
To the Smithsons and their ilk, the Eameses appeared as if designers from the near future. They saw in the American couple a ‘light-hearted thinking in featherweight climate-bits-and-pieces seeming off-the-peg-architecture … [a] do-it-yourself out of gorgeous catalogues, the Sears-Roebuck thinking … [a] whole blow-up, plug-in, camp-out, dump-digging type of thinking and living.’ They saw in Charles and Ray the kind of design practice that they themselves were struggling to imagine — a form of design practice that combined the modernist legacy of social improvement with new sensibilities of popular, mass-produced modernity. They saw a lightness of touch, with a direct connection to lifestyle and an easy ability to reach out across the traditional boundaries of design and out into the wider world.

Tweedy + The Beasties

Sat, 24 Aug 2019 20:30:52 -0500

Two relatively new music books I enjoyed this summer: Jeff Tweedy’s Let’s Go (So We Can Get Back:) A Memoir of Recording and Discording with Wilco, Etc. (honest, often funny; really enjoyed the sections about his sons) and the bluntly titled Beastie Boys Book (their mischief has been carried over to the copy and design).

Mon, 08 Jul 2019 21:07:07 -0500

I was impressed and moved by Ocean Vuong’s debut novel, On Earth We’re Briefly Gorgeous. Poetic, searching, deeply affecting. Highly recommended. Related reading/listening: Jia Tolentino in The New Yorker; Kat Chow in The Atlantic; and this Politics & Prose conversation with the author (genuine, exacting, deeply intelligent).

From the novel:

Is that what art is? To be touched thinking what we feel is ours when, in the end, it was someone else, in longing, who finds us?

Teju Cole on Embedding Hesitation

Sun, 31 Mar 2019 08:58:49 -0500

Really enjoyed this substantive recent conversation on Krista Tippett’s “On Being” podcast. At one point, Tippett quotes Cole’s Blind Spot, one of my favorite books from the last few years: “To look is to see only a fraction of what one is looking at. Even in the most vigilant eye, there is a blind spot. What is missing?” She tells Cole, “I find that useful language.” The ruminative Cole responds:

Well, thank you. I find it very fortifying as an idea, to think about what is not evident, what’s not apparent. I have a real struggle, especially when I’m writing for the Times. I have a very sympathetic, understanding, and encouraging editor, who lets me get away with all kinds of things, but I’m always trying to lower the volume of my essays. Very often, I’m trying to write and not say more than can justly be said. I want to reduce the number of sparks. I want to embed hesitation and lack of certainty in it.

Craig Mod on the Future of Books

Sat, 22 Dec 2018 08:23:00 -0500

Thoughtful piece at Wired from someone who’s been thinking and writing about this subject for quite some time: “We have arrived to the once imagined Future Book in piecemeal truths.”

Ta-Nehisi Coates on the Essential Role of Great Editors

Sun, 09 Dec 2018 21:43:13 -0500

At the close of Coates’ recent interview with Chris Hayes, the host asks him if he’s working on a new book. The dodge Coates gives, not wanting to discuss a project-in-process, ends up being a terrific toast to the necessity of sharp, tough early readers and editors:

I do, I do have a writing project and I love you people so much, let me tell you how much I love you. I was due on this writing project two weeks ago, it was like two weeks ago and yet I'm here with you. How much love is in my heart? Here I am. I do, man and I do and what I'll say is, I love it and it's the hardest thing ever. Writing is so ... I want to talk really, I don't know if they're people who want to be writers, who are writers in the building. But I just want to talk really quickly about that process. And about specifically working with [my editor] Chris [Jackson], who is magnificent. I give him shit all the time but he's actually magnificent, best editor and publisher, excuse me, make sure I get his title right.

I have a note that one day, we should have put it in "We Were Eight Years in Power," and the note is, I wrote "Between the World and Me" four times. And every time I would submit a draft to Chris and he'd be like, "Hmm, I don't know. I don't know, I don't know." Basically, I had to go and rewrite before we even got to the level of actual line by line editing. So he sent me a note after what must have been the second or third draft. And it's just like 2,000 words about why this does not work. And it was so depressing. I remember getting it at the time, I think you have to understand about "Between the World and Me" is, it's a book that came out of my head. I had artistic inspiration in the sense of James Baldwin, the fact that I had been working through the death of my friend for 14 years at that point.

I had the fact of a black president which was sort of swirling around but I didn't know what that was. Even the idea of a letter came at the very end of the actual process of us working together. And man, I got that note from Chris, 'cause every time you're like, "Okay, I think this is it, I think I got it, I think I got it." And it's go again, go again. And I feel like at that point, I was well-known enough and this is how the industry works. Somebody would have published that draft. It's an inferior draft, it's not the same book. And this is, I've been blessed because this is actually the relationship we have even on this book, man. I turned in a draft about this time last year. Oh, I'm done, we're gonna go to line edits. And Chris took forever to read it as is his way.

But when he did, he wrote, he did a little bit of line edit but he came over to the house and he talked to me about it and it was clear that I had to rewrite the whole thing. This is my third time, I've been writing this book for 10 years, this is my third time rewriting it. But he's not gonna let me embarrass myself. You understand? I think I'm good as a writer, but I actually have much more confidence in the people around me because the people around me, they just gonna tell me, "It's not time. It's not time, don't embarrass yourself." I think a lot of writers, listen, I think talent is really important but I think what I have been blessed with, from the time I was in my mom and my dad's house, you know what I mean? From the period of working for David Carr. From the period when James Bennett ran The Atlantic. I had hard people around me. You know who just pushed. Do it again, go again, go again, go again, go again.

So if you like what you see, and this is why I'm always a little uncomfortable with this, what you are seeing is not some innate thing. What you are seeing is, go again, go again, go again. And that's the spirit I think of certainly good writing and any writing that hopes to be great. The bleeding on the page. And then bleeding again and again. I just tell him this all the time, I'm thankful to have a reader like that who push you in that sort of way.

New Knausgaard Interview @ NewYorker.com

Mon, 12 Nov 2018 22:37:00 -0500

From a substantive new interview with Joshua Rothman:

I had felt for many, many years that the form of the novel, as I used it, created a distance from life. When I started to write about myself, that distance disappeared. If you write about your life, as it is to yourself, every mundane detail is somehow of interest—it doesn’t have to be motivated by plot or character. That was my only reason for writing about myself. It wasn’t because I found myself interesting, it wasn’t because I had experienced something I thought was important and worth sharing, it wasn’t because I couldn’t resist my narcissistic impulses. It was because it gave my writing a more direct access to the world around me. And then, at some point, I started to look at the main character—myself—as a kind of place where emotions, thoughts, and images passed through.

More Great Listening: Batuman & Sow

Fri, 08 Jun 2018 22:11:55 -0500

The Longform Podcast's new episode with Elif Batuman is fantastic. I've enjoyed her writing for a few years, and in this interview you can just feel her thinking deeply about literature and writing and gender and observing in cities around the world and much more. As interviewer Max Linsky tweeted when sharing the link: "Genuinely, this is the most fun I have had in a long time. It was so fun, in fact, that at one point I stopped and said 'Wow I’m just very happy to be sitting here with you! This is so fun!' And then Elif was very gracious with me and then she said a bunch more brilliant things." It's true.

I also loved Design Observer's new episode with Aminatou Sow. She was new to me, and I'm clearly late to the game. On being late, though: Really enjoyed Sow's skepticism of the tech press's focus on the young (who wants to peak at 28?), vs. her interest in longevity; she's long thought the ideal age is 63 .

Cultural Notes: February 2018

Mon, 05 Mar 2018 23:08:39 -0500

Continuing for month two of this recent effort to note the cultural intake of the prior month:

Read

Medardo Rosso: Experiments in Light and Form, Pulitzer Arts Foundation — (Disclosure: Married to a contributor) (A)
Yes!: 50 Scientifically Proven Ways to Be Persuasive, Noah J. Goldstein, Steve J. Martin, Robert Cialdini — Recommended by someone high-wattage bright in conversation, who was advising on how to nudge. (B)
Magnitude: The Scale of the Universe, Kimberly K. Arcand (B+)
The Threat Matrix: The FBI at War in the Age of Global Terror, Garrett M. Graff — An older book with Mueller at the core (B)
Made to Stick: Why Some Ideas Survive and Others Die, Chip Heath and Dan Heath — I can still recall being taken by this cover in the Borders I frequented more than a decade ago. Finally read it. (B+)
Deep Work: Rules for Focused Success in a Distracted World, Cal Newport — Enjoyed Newport's interview with Ezra Klein. Found the book just so-so, but the reminder is valuable. (B-)
"The White Darkness: A Journey Across the Antarctic," David Grann — Another incredible novella-length gem from David Grann. After reading, don't miss an audio segment with voices from the piece. (A+)

Watched

Get Out (A+)
Room (B+)
Phantom Thread (A-)
45 Years (A-)

Cultural Notes: January 2018

Sun, 04 Feb 2018 15:45:10 -0500

With a nod to Kottke's monthly "Media Diet" posts, I'm experimenting this year with short monthly recaps of interesting things I've read, watched or listened to. (This is as much for myself, as noting what I took in can help me better recall it.)

Read

Paula Scher: Works — Terrific, from the opening essay and interview to the work itself. (A)
Abbott Miller: Design & Content — Intelligent and beautiful. Especially loved reading about Miller's co-founding of a "content-based studio" years before 'content strategy' became a thing. (A+)
We Were Eight Years in Power: An American Tragedy, Ta-Nehisi Coates — I'd read most of these essays when they were published in The Atlantic, but they were even more powerful here as a package. I liked Coates' brief introductions to each one, noting any changes (to what happened in the world, to how he thought about the issues) since original publication. (A)
Obama: An Intimate Portrait, by Pete Souza (A)
"Old Woods and Deep: Traces of Cormac McCarthy's Knoxville" — A rare deep dive into McCarthy and in particular Suttree, my favorite novel of his.

Watched

The Big Sick (B+)
Columbus (A) — Unique and sensitive debut with such lovely and surprising architecture.
The Sopranos, Final Season (A)

Listened To

Lomelda, "From Here," — Stumbled on her via Spotify Discover. The last-third build-up gets me singing.
Chimamanda Ngozi Adichie on "Discovering America" — On this recent New Yorker Radio Hour interview with David Remnick, Adichie was incisive and funny. Moved me to pick up Americanah, which I'm reading now.
Slow Burn — Binged-listened to this podcast about Watergate. Hard to believe.
Saint Louis Symphony Concert Family Concert — First time taking Leo, who looked up with wide eyes at Powell Hall's magnificent ceiling. It was a treat that the special guest was the 442s, friends and collaborators on this Forest Park Forever project. A week since going, Leo's been loudly 'conducting' in the kitchen.

Year in Review: 2017

Sun, 31 Dec 2017 23:51:00 -0500

Continuing a 17-year tradition, I'm happy to share my Annual Favorites list for the year 2017:

Family
Let's start with the best thing that happened to my family this year, which is the arrival of Sylvia Huremović Schenkenberg in late April. We're still smiling at her the way Leo was above, just a few days in.

Books

My Struggle: Book 5, Karl Ove Knausgård
Blind Spot, Teju Cole
Citizen: An American Lyric, Claudia Rankine
Exit West, Mohsin Hamid
Born to Run, Bruce Springsteen
Swing Time, Zadie Smith
Vacationland: True Stories from Painful Beaches, John Hodgman
Now You See It and Other Essays on Design, Michael Bierut
Home and Away: Writing the Beautiful Game, Karl Ove Knausgård and Fredrik Ekelund
Born a Crime: Stories From a South African Childhood, Trevor Noah
Obama: The Call of History, Peter Baker
Cork Dork: A Wine-Fueled Adventure, Bianca Bosker
A Separation, Katie Kitamura
Paul Rand: A Designer's Art
More Alive and Less Lonely: On Books and Writers, Jonathan Lethem
Powers of Ten, Philip Morrison
Freud: Inventor of the Modern Mind, Peter D. Kramer

Movies

Moonlight
Lady Bird
Under the Skin
The Meyerowitz Stories (New and Selected)
Clouds of Sils Maria
Life Itself
Arrival

TV/Streaming

Better Call Saul, Season 3
The Americans, Seasons 4-5
OJ: Made in America
Master of None, Season 2

Audio
I'm going to skip making a long list of favorite albums and podcasts, and instead note a discovery in each, respectively: Phoebe Bridgers (watch her Tiny Desk Concert here), and S-Town. They each feel a bit haunted, and they share, in parts, a gothic sensibility. (Also: I can't not mention Black Thought's instantly classic 11-minute freestyle video, which c'mon.)

Technology
Our SONOS Play: 1 is used every evening for listening to music as we get ready for dinner or just goof around with the kids. Things 3 finally launched, and it's attractive and enjoyable to use. It's only been a month or so, but I've been enjoying trying out Ulysses as a writing environment (despite having no interest in using Markdown.) I've been impressed with Airtable as a flexible, humane alternative to Excel, when you need a database of some kind but have zero needs for financial calculations. (I'd seen the fancy Sandwich video when it launched, but didn't realize it could fit my needs until the co-founder's segment on Track Changes.)

Personal
As noted on this website earlier this month, I was sad to see an end to the remarkable life of William H. Gass, who I was lucky enough to get to know over the past decade-plus. Bill lived a long and productive life, dying at 93, and working through his final year. I was honored to write briefly about him for the St. Louis Post-Dispatch and speak about his life and work on St. Louis Public Radio. I continue posting notes from readers and admirers at ReadingGass.org.

Work
Highlights from a very fun year at Forest Park Forever include engaging the public in the final year of Forever: The Campaign for Forest Park's Future, speaking at the international City Parks Alliance conference in the Twin Cities, launching a 2.0 version of ForestParkMap.org, and publishing Forest Park: Snapshots of a St. Louis Gem.

Thu, 26 Oct 2017 20:41:00 -0500

George Saunders on Monocle 24: A does-the-heart-and-mind-good interview with Georgina Godwin.

Teju Cole in Words & Pictures

Sun, 06 Aug 2017 21:38:00 -0500

I loved every minute I spent with this beautiful, poetic, searching, confident book.

Lethem on Knausgaard: "My Hero"

Tue, 04 Jul 2017 12:42:25 -0500

After discovering this short appreciation in a Jonathan Lethem essay collection on bookish things, I just read it aloud to my wife, who'd been curious about why I've been so utterly taken by this series and increasingly hungry for each subsequent volume. Lethem nailed it ("Knausgaard's approach is plain and scrupulous, sometimes casual, yet he never writes down. His subject is the beauty and terror of the fact that all life coexists with itself."), and he was only one volume in.

Thu, 01 Jun 2017 22:46:00 -0500

An inspiring New Yoker profile of Steidl by Rebecca Mead.

Exit West

Tue, 14 Mar 2017 21:37:00 -0500

What a time for this deeply affecting Mohsin Hamid novel to appear. Here’s Jia Tolentino on The New Yorker’s website:

The novel feels immediately canonical, so firm and unerring is Hamid’s understanding of our time and its most pressing questions. Whom are we prepared to leave behind in our own pursuit of happiness? Whom are we able to care for, whom are we willing to care for, and why are our answers to those questions so rarely the same? At one point, Saeed points out to Nadia that millions of refugees previously came to their own native country, “when there were wars nearby.” Nadia replies, “That was different. Our country was poor. We didn’t feel we had as much to lose.” Comfort, she knows, can anesthetize one against concern for others.

This is my first Hamid book, and I’m impressed. Looking forward to catching up with some recent interviews.

"Home and Away: Writing the Beautiful Game"

Tue, 07 Feb 2017 22:01:53 -0500

I've really been missing new Knausgaard material, as I've been waiting for the next translation... and suddenly I saw this new book being reviewed. Grabbed it from the library and gobbled it up in a few nights. Knausgaard and fellow writer Fredrik Ekelund exchange emails during the most recent World Cup. The topics are soccer, literature, childhood, family, yearning, memory... and on and on. Totally unique and enjoyable.

Thu, 19 Jan 2017 09:35:00 -0500

Loved this World Book Club episode, with informed and curious readers asking Karl Ove Knausgaard about one of my favorite works of literature in several years. We shouldn’t be surprised that he’s a thoughtful and candid interviewee.

Roz Chast's Deeply Poignant Memoir

Sat, 20 Aug 2016 20:35:00 -0500

I’ve long chuckled at Roz Chast’s cartoons in The New Yorker. This graphic memoir, the first such book I’ve read, was so much more than a chuckle: funny, yes — but direct, deeply poignant, sharply observant. It’s hard to think about someone more perfectly born and raised to write (and draw) one specific book. Having finished the book, I’m looking forward to listening to this “Fresh Air” interview with the author.

Max Porter's "Grief Is the Thing with Feathers"

Sun, 10 Jul 2016 10:24:58 -0500

I loved everything about this singular, poetic, deeply moving book. Huge congrats to Max Porter on a phenomenal debut. (Here’s the review that led me to it.)

“The Monocle Guide to Cozy Homes”

Sat, 07 May 2016 15:48:00 -0500

Really enjoyed this book, which eschews icy, spacious luxury and celebrates lived-in warmth and often modest SQF. The choices on the first few pages (shown below) are representative of the book’s distinct point of view. (That kitchen towel is telling.)

Paul Kalanithi Writes To His Daughter

Wed, 04 May 2016 21:39:49 -0500

From his extraordinary book, When Breath Becomes Air:

When you come to one of the many moments in life where you must give an account of yourself, provide a ledger of what you have been, and done, and meant to the world, do not, I pray, discount that you filled a dying man’s days with a sated joy, a joy unknown to me in all my prior years, a joy that does not hunger for more and more but rests, satisfied. In this time, right now, that is an enormous thing.

"Hunger Makes Me a Modern Girl"

Sun, 14 Feb 2016 16:29:10 -0500

Really enjoyed Carrie Brownstein’s impressive, observant, terrifically titled memoir.

Silverblatt & Knausgaard

Sat, 06 Feb 2016 15:48:02 -0500

Having just finished book three of Karl Ove Knausgaard’s My Struggle (I enjoyed the first two more, though this volume’s still captivating), I was eager to listen to both part one and part two of the author’s interviews on Michael Silverblatt’s “Bookworm.”

It’s great listening. These insights from Silverblatt — which followed his comment that Knausgaard clearly knows his “great literature” — rang especially true for me:

What’s daring about My Struggle is that you’re willing to put the difficulty of the literature of the century — Joyce on — aside, to recapture the human. To make it human again, or to restore it to humanness. And in doing so, you risk being wildly misunderstood….

These works of great literature, in some way, speak to readers. And they speak from a world of genius. And I feel that in order to restore the possibility of originality, and even grandeur, you had to enter the zone of shame and the zone of ordinary life, which is banality. And you had to ask, Can great literature be made of such things? Am I willing to try to write six volumes of daily life, when all of us are feeling that our daily lives are disappointing and dissatisfying? Can the novel of Knausgaard restore our feelings of the importance of daily life?

I can’t think, personally, of anything more important. I’m very grateful when I read these books, because I feel like you’ve restored my interest in human beings. In going to the grocery. In feeding a child and making sure things are taken care of from one day to the next.

Year in Review: 2015

Fri, 01 Jan 2016 20:55:20 -0500

Continuing a 15-year tradition (though one that’s gotten briefer with age and fatherhood), here’s a roundup of some of my favorite things experienced during the past 12 months:

Books

My Brilliant Friend, Elena Ferrante
Those Who Leave and Those Who Stay, Elena Ferrante
The Story of a New Name, Elena Ferrante
The Story of the Lost Child, Elena Ferrante
Lila, Marilyn Robinson
My Struggle: Book 2, Karl Ove Knausgård
Between the World and Me, Ta-Nehisi Coates
H is for Hawk, Helen Macdonald
The Balloonists, Eula Biss
Being Mortal, Atul Gawande
Becoming Steve Jobs, Brent Schlender
Stress Tests, Timothy F. Geithner
Van Gogh: A Power Seething, Julian Bell
Marissa Mayer and the Fight to Save Yahoo, Nicholas Carlson
Bark, Lorrie Moore
Girl In a Band, Kim Gordon

So-so: Grace: A Memoir; I Think You’re Totally Wrong: A Quarrel

Movies

Ida
Ex Machina
While We’re Young
Birdman
Boyhood
Mr. Turner
Carol
Interstellar
Magic in the Moonlight

So-so: Spectre; Mission: Impossible – Rogue Nation

Borgen: Season 3
Mad Men: Final Season
An Honorable Woman
Black Mirror: Season 1
Master of None: Season 1
Veep: All Seasons
The Good Wife: Seasons 1-6
Sherlock

Podcasts

Music
I used to make long lists of specific albums purchased and enjoyed, but since I’ve gone to paid streaming (and, maybe, since I’ve become a committed podcast listener), it’s harder for me to point to specific recordings at a year’s end. This is especially the case since Rdio shut down, and I’m now starting fresh with Spotify — my digital records are kind of a mess. While I listen to hours of classical and ambient/lush music through the headphones during work, a few specific artists I spent more time with in 2015 include Angel Olsen, Youth Lagoon, Sun Kil Moon, Sharon Van Etten, My Bubba, Jennifer O’Connor, Girlpool, Atlas Sound, Earl Sweatshirt, J Cole, Common, Pusha T, A$AP Rocky, Villagers, Natalie Prass, and Perfume Genius.

NYC + D.C.
I had the good fortune of accompanying my wife on a work trip she had to NYC, and it was incredibly culture-rich. Highlights included the new Whitney, MoMA (Yoko Ono and Bjork special exhibitions), The Drawing Center, David Zwirner Gallery (Serra show), Neue Galerie (sensational collection), the Cooper Hewitt, and “Drifting in Daylight” in Central Park (where I shot this short phone video). We also enjoyed a long weekend in D.C. with family, with pleasant dips into the National Gallery (terrific Caillebotte show) and The Phillips Collection (first time, great time).

Work
I’m fortunate to have a great job at Forest Park Forever, and 2015 saw a few especially fun projects ship. This includes the introduction of our new brand platform, our launch of Forestparkmap.org and the formal introduction of Forever: The Campaign for Forest Park’s Future, with a new website that features a beautiful campaign video we made with the team at Once Films.

Family
As referenced appropriately at top, so much of this year — and so much of every day — has been about Tamara and I raising our son. I’d been told that right around 2 is a fun age, and it’s true. This year had a ton of special moments, including — just to pick one, which we happened to catch on film — Leo’s changing expression during his first ride on a carousel at the Saint Louis Zoo.

Year in Review: 2014

Sun, 11 Jan 2015 16:20:00 -0500

Back before Tamara and I had our son in the summer of 2013, I used to keep regular lists of my “Annual Favorites” of the year — the best books, movies, TV shows, podcasts, exhibitions and so on that I’d consumed that year.

To say my rate of cultural digestion changed with fatherhood would be an understatement; that said, I still have an interest in logging the great stuff (if only for myself). So while I skipped 2013 entirely, here’s a go at some highlights from 2014:

TheGassInterviews.org
In May, I published a project I’d been working on for some time: The Ear’s Mouth Must Move: Essential Interviews with William H. Gass. I chose to publish this on Medium at no cost to the reader, and included a range of footnotes, photos and videos. Thanks to all the contributors who made this possible.

Books

On Immunity: An Inoculation, Eula Biss
My Struggle, Book One: Karl Ove Knausgård
Little Failure, Gary Shteyngart
Notes from No Man’s Land: American Essays, Eula Biss
What We See When We Read, Peter Mendelsund
Inferno (The Divine Comedy, #1), Dante Alighieri (Mary Jo Bang, Translator)
Becoming Freud: The Making of a Psychoanalyst, Adam Phillips

Movies

Like Someone In Love
Inside Llewyn Davis
Her
The Grand Budapest Hotel
La Notte
Jane Eyre (2011)
A Most Wanted Man
Gone Girl
Take This Waltz
Enough Said
The One I Love
Your Sister’s Sister

Podcasts

Design Matters
Slate Culture Gabfest
Serial
The Monocle Weekly
Longform
In Our Time With Melvyn Bragg
The Entrepreneurs (Monocle)
The Stack (Monocle)
The Political Scene (The New Yorker)
New Yorker: Out Loud

Articles & Essays
If you follow me on Twitter, you have likely already seen links to the best articles and essays I read in 2014. I use it mainly as a way to praise and recommend.

Music
I listen to Rdio every day of the week — on my Mac, iPad and iPhone. A great deal of what I stream is classical, since I listen while I work. And on that front I do a poor job of logging what I like, as I hop quickly from label to composer, from soloist to trio. So for this post I’ll skip classical (and hip-hop, where I also jump around) and point simply to a handful of indie albums I enjoyed this year:

Beck, Morning Phase
Low, The Invisible Way
Angel Olsen, Burn Your Fires For No Witness
Sun Kil Moon, Benji
Tweedy, Sukierae

Life

Leo turning 1, walking, saying words
A relative I love being brave against illness
Tamara earning her doctorate in art history
Serving as Best Man as Mike and Sarah married
Tamara’s birthday dinner at Stone Soup Cottage
Attending a 90th birthday reading by William Gass

Hemon: "The Book of My Lives"

Tue, 09 Apr 2013 21:49:00 -0500

I’ve written before of the penetrating, often funny essays of Aleksandar Hemon, the Bosnian writer who, fortunately for us, calls Chicago home. His new collection, The Book of My Lives, is terrific, whether the subject is gravely serious (war, illness) or much more fun (pick-up soccer with a crew of fellow refugees).

Here’s one opening paragraph I quite liked from the essay “The Lives of Grandmasters,” which has just been published online as well:

I do not know how old I was when I learned to play chess. I could not have been older than eight, because I still have a chessboard on whose side my father inscribed, with a soldering iron, “Saša Hemon 1972.” I loved the board more than chess — it was one of the first things I owned. Its materiality was enchanting to me: the smell of burnt wood that lingered long after my father had branded it; the rattle of the thickly varnished pieces inside, the smacking sound they made when I put them down, the board’s hollow wooden echo. I can even recall the taste — the queen’s tip was pleasantly suckable; the pawns’ round heads, not unlike nipples, were sweet. The board is still at our place in Sarajevo, and, even if I haven’t played a game on it in decades, it is still my most cherished possession, providing incontrovertible evidence that there once lived a boy who used to be me.

St. Louisans: Hemon, who I’ve heard read in town before, returns this Friday. Don’t miss it.

Sat, 23 Mar 2013 08:01:21 -0500

At McSweeney’s, Teddy Wayne’s “Feedback From James Joyce’s Submission of Ulysses to His Creative Writing Workshop.”

The Ecosystem Known As Reading

Wed, 06 Mar 2013 22:15:40 -0500

Andrew Piper, writing in Book Was There: Reading in Electronic Times:

Books will always be there. That is what they are by definition: there. Whether in the classroom, the library, the archive, the bookstore, the warehouse, or online, it is our choice, however, where books will be. It is time to stop worrying and start thinking. It is time to put an end to the digital utopias and print eulogies, bookish venerations and network gothic, and tired binaries like deep versus shallow, distributed versus linear, or slow versus fast. Now is the time to understand the rich history of what we have thought books have done for us and what we think digital texts might do differently. We need to remember the diversity that surrounds reading and the manifold, and sometimes strange, tools upon which it has historically been based. The question is not one of “versus,” of two antagonists squaring off in a ring; rather, the question is far more ecological in nature. How will these two very different species and their many varieties coexist within the greater ecosystem known as reading?

"The sirens had hoarse throats"

Sat, 05 Jan 2013 19:19:23 -0500

From William H. Gass’ forthcoming novel, Middle C:

Joey … rails ran across France then, rails ran through the mountain passes and through tunnels into and out of the mountains, rails ran along the Mur, through forests of fir trees, because the war was over, the sirens had hoarse throats, all the bombs they’d dropped on one another had gone plode, and so we could have traveled home together, because there were no more warplanes, no more lights fingering the sky, no more Nazis; it was, we used to say when we slunk from our underground huddle, the large lot of us, and looked to see if our rubble was still standing, we used to say that the sirens said — the sirens said, All clear.

Virginia Woolf, Observing

Sat, 05 Jan 2013 19:08:00 -0500

A passage of exceptional precision in The Diary of Virginia Woolf, Vol. 1:

On Sunday Lytton came to tea. I was alone, for L. went to Margaret. I enjoyed it very much. He is one of the most supple of our friends; I don’t mean passionate or masterful or original, but the person whose mind seems softest to impressions, least starched by any formality or impediment. There is his great gift of expression of course, never (to me) at its best in writing; but making him in some respects the most sympathetic & understanding friend to talk to. Moreover, he has become, or now shows it more fully, curiously gentle, sweet tempered, considerate; & if one adds his peculiar flavour of mind, his wit & infinite intelligence — not brain but intelligence — he is a figure not to be replaced by any other combination.

Year in Review: 2012

Tue, 01 Jan 2013 14:45:00 -0500

This post is part of my Annual Favorites list I’ve been keeping for the past decade-plus.

Favorite Books (Goodreads profile)

The German Genius, by Peter Watson (choice passages)
Journey to the Abyss: The Diaries of Count Harry Kessler, 1880-1918 (choice passages)
Life Sentences, by William H. Gass
Nox, by Anne Carson
A Hologram for the King, by Dave Eggers
Rineke Dijkstra: A Retrospective
Donald Judd
Every Love Story is a Ghost Story: A Life of David Foster Wallace, by D.T. Max
The Long Goodbye, by Megan O’Rourke
Gerhard Richter: Panorama
Where Good Ideas Come From, by Steven Johnson
The Lifespan of a Fact, by John D’Agata and Jim Fingal
Chip Kidd: Book One: Work, 1986-2006
The Oath: The Obama White House and the Supreme Court, by Jeffrey Toobin
The Obamas, Jodi Kantor
Some of My Lives, by Rosamond Bernier
The Art of Fielding, by Chad Harbach
Berlin Stories, by Robert Walser
The Address Book, by Sophie Calle
The Englishman who Posted Himself and Other Curious Objects, by John Tingey
Art and Activism: Projects of John and Dominique de Menil
The Sense of an Ending, by Julian Barnes
The Bridge on the Drina, by Ivo Andrić
Shards, by Ismet Prcić
The Promise: President Obama, Year One, by Jonathan Alter
Elizabeth Costello, by J. M. Coetzee
How to Live: Or A Life of Montaigne, by Sarah Bakewell
Death in Spring, by Mercè Rodoreda
The Art of Intelligence, by Henry A. Crumpton
Zoe Strauss: 10 Years
Mortality, by Christopher Hitchens
Karaoke Culture, by Dubravka Ugrešić
The Fate of Greenland, by Philip W. Conkling
Redheaded Peckerwood, by Christian Patterson

Happy to have read Karen McGrane’s Content Strategy for Mobile, Frank Chimero’s The Shape of Design, and Mike Monteiro’s Design Is a Job, but would keep them off the ranked list. Same with “Mark Owen”‘s No Easy Day.

Favorite Movies: 2012 (Letterboxd profile)

Marina Abramović: The Artist Is Present
Gerhard Richter Painting
Moonrise Kingdom
Ai Weiwei: Never Sorry
Lincoln
The Master
The Queen of Versailles
Something from Nothing: The Art of Rap
Arbitrage
Skyfall
The Dark Knight Rises

Didn’t connect with: Headhunters, We Have a Pope, The Bourne Legacy.

Favorite Movies: Pre-2012

A Separation
Bill Cunningham New York
Tinker Tailor Soldier Spy
Certified Copy
Margin Call
Notorious
A Dangerous Method
Bridesmaids
Young Adult
Moneyball
Conan O’Brien Can’t Stop
J. Edgar
Too Big to Fail
Hopscotch
Haywire

Music

I continue to be a huge fan of Rdio, which I pay $10 a month to be able to stream music on a desktop, iPad, or iPhone. (This includes, say, streaming the new Nas via my home’s wi-fi as I mow my suburban lawn.) There will always be rituals and a closeness to the music I miss from my CD days, but the advantages of Rdio — especially the ability to discover and immediately listen to new music, particularly hip-hop and classical — are significant. I don’t have a ranked list here, but my listening history is an open book.

Favorite Articles, Essays & Blog Posts (categorized, not ranked)

Affairs

“Newtown and the Madness of Guns,” by Adam Gopnik
“The Voter-Fraud Myth,” by Jane Mayer
“I Didn’t Come Back to Jerusalem To Be in a War,” by Dahlia Lithwick
“The Implosion,” by Jon Lee Anderson
“Of Babies and Beans: Paul Ryan on Abortion,” by Adam Gopnik
“It Matters,” by Josh Marshall
“A Victory for Obama and for Obama’s America,” by John Cassidy
“The Choice,” by The New Yorker Editors
“2,700 Hundred Pages for Anton Scalia,” by Amy Davidson
“Money Unlimited,” by Jeffrey Toobin
“Obama, Explained,” by James Fallows
“One More Massacre,” by Adam Gopnik
“Colbert v. the Court,” by Dahlia Lithwick
“Pussy Riot Closing Statements,” by Maria Alyokhina, Nadezhda Tolokonnikova, and Yekaterina Samutsevich
“Something Wicked This Way Comes,” by Atul Gawande
“How Obama’s Long Game Will Outsmart His Critics,” by Andrew Sullivan
“The Obama Memos,” by Ryan Lizza

Culture

“Too Big To Succeed,” by Lee Kponstantinou
“Spotify and Its Discontents,” by Mike Spies
“Big Other’s Birthday Tribute to William H. Gass, 2012”
“When Art Makes Us Cry,” by Francine Prose
“Much God Damned Entropy,” by Gabriel Blackwell and Greg Gerke
“The First Church of Marilynne Robinson,” by Mark O’Connell
“We Are Alive,”by David Remnick
“Viewer Discretion,” by Gideon Lewis-Kraus
“The House That Hova Built,” by Zadie Smith
“Peace, Adam,” by Sasha Frere-Jones
“American Mozart,” by David Samuels
“Diary of an Aesthete,” by Alex Ross
“Maxim Interrogates the Makers of The Wire”
“Till the Knowing Ends,” by Joanna Scott
“Radiohead’s Runaway Guitarist,” by Alex Pappademas
“The Meet and Greet Museum,” by Steven C. Dubin

Tech & Media

“Your Anti-Social Media Rant Reveals Too Much About Your Friends,” by Alexis C. Madrigal
“Facebook and Instagram: When Your Favorite App Sells Out,” by Paul Ford
“29th Street Publishing and the Next Wave of Digital Publishing,” by Jim Ray
“The Way We Read Now,” by Dwight Garner
“BuzzFeed’s Strategy,” by Jonah Peretti
Craig Mod: “The Digital-Physical”; “Hack the Cover,”; “Subcompact Publishing”
“Deploy,” by Mandy Brown
“E-books Can’t Burn,” by Tim Parks
“Small Presses & Self-Publishers: Enemies? Or Half-Siblings?” by Sean Bishop
“Out of Touch,” by Andrew Piper
“I’ma Set It Straight, This Watergate,” by John Gruber
“The Death of the Cyberflâneur,” by Evgeny Morozov
“Good Things About Twitter,” by Sasha Frere-Jones
“Does Time Magazine Think Americans Are Stupid?” by L. V. Anderson

Essays

“National Subjects,” by Aleksandar Hemon
“War Dogs,” by Aleksandar Hemon
“The Self-Destruction of the 1 Percent,” by Chrystia Freehand
“A Boy to Be Sacrificed,” by Abdellah Tao
“Tony Judt: A Final Victory,” by Jennifer Homans

Misc. Reporting, Articles & Posts

“The Yankee Comandante,” by David Grann
“Boss Rail,” by Evan Osnos
“All Due Respect,” by Peter Hessler
“Cocaine Incorporated,” by Patrick Radden Keefe
“The Story of a Suicide,” by Ian Parker
“Big Med,” by Atul Gawande
“What Brand Is Your Therapist?” by Lori Gottlie
“Artisanal Baby Naming,” by Bob Powers
“Resilient Redbirds Refuse to Lose,” by Bernie Miklasz
“Lionel Messi Never Dives,” by Jason Kottke
“Fals Nine vs. Real Nine,” by Dushko Petrovich
“The Caging of America,” by Adam Gopnik
“Study Reveals Dolphins Lack Capacity to Mock Celebrity Culture,” by The Onion
“The World’s First and Only Completely Honest Résumé of a Graphic Designer,” by Marco Kaye
“How Many Stephen Colberts Are There?” by Charles McGrath

Most-Used iPhone & iPad Apps

I start every morning with the NYTimes’ iPad app. I listen to podcasts, NPR, and music via Instacast, Public Radio Player, and Rdio. I journal using Day One, which is synched using Dropbox on all devices. The new 1Password 4 is a slick companion to the essential desktop app. I organize a lot of my work and personal life using Evernote, and keep up with tasks using Things. Other apps I use often: Reeder (every night, to catch up with the day’s articles), Goodreads, Fantastical, Tweetbot (iphone) and Twitter (iPad), Instagram, Facebook, Checkmark, Instapaper, Pinboard, Netflix, PBS for iPad, Simple, and iBooks (largely for work PDFs).

Final Notes

One unusual memory I have from 2012 is spending several weekday evenings in March walking through my neighborhood for an hour or so, listening to the day’s oral arguments for and against the healthcare act. (My greatest moment of exasperation was hearing Justice Scalia mock-ask whether he was seriously supposed to get through so many pages of material.) In April, I published Abstractions Arrive: Having Been There All the Time, an iPad-only e-book pairing an essay by William H. Gass with photographs by Michael Eastman; New York Times coverage was a cherry on top. May’s Confab conference was one of the best I’ve attended. In August, Tamara and I enjoyed a few highly cultural days in Miami. Surpassing all that, though — we’re expecting a baby in late May of 2013. I expect this should be my best year yet.

"Small Presses & Self-Publishers: Enemies? Or Half-Siblings?"

Sun, 21 Oct 2012 22:16:40 -0500

[Interesting piece](https://www.vqronline.org/articles/small-presses-self-publishers-enemies-or-half-siblings) by Sean Bishop in the VQR blog. (And yes, I agree with this sentiment, and not just for literary publishers, but other groups in the arts: “There is still a contingent of presses and publishers who bristle at the idea of ‘branding,’ 'marketing’ and the lot. Stop it…. They (you) need to get over that. I mean, seriously: you’re a publisher, not a religion.”)

Kessler Continued: On Rilke, His Lips & War

Sun, 07 Oct 2012 08:44:17 -0500

Following up on a previous post about this extraordinary 900-page book — I finished it last night — here are a few more remarkable passages around which I drew my customary lines, stars, and exclamation marks:

Paris, February 1905:

With [Théodore] Duret to Mademoiselle Courbet, Courbet’s sister. Works of Courbet from all periods, especially interesting the Demoiselles de la Seine (around ‘66) and quite early pictures from Courbet’s childhood when he was fifteen to seventeen. In the Demoiselles, although later than Manet’s and Monet’s Déjeuner, no "plain air,“ no colored shadows on the dresses (perhaps a little blue in the face of one). In the quite early pictures astonishingly there is already Courbet’s unique, completely new application of color with which he started modern painting. So Courbet achieved this revolutionary new way of painting himself. His sister confirms that he received no instruction in painting in Ornans. Everything was genial intuition. With that a major problem in modern painting is solved.

Weimar, June 1906:

Opening of the Artists League Exhibition… The most interesting thing in the exhibition the painting by quite a young artist who is exhibiting for the first time: Max Beckmann, Naked Boy on the Beach. Like Signorelli and with qualities of Courbet and Cézanne, but nevertheless strongly original in the rhythm of its accents and in its tonality, which has a marvelous unity. I introduced myself to Beckmann and congratulated him.

Berlin, two days later:

Beckmann lunched with me in the Carlton. He spoke of the romance of life that he feels so keenly, the romance of the quite common, everyday life. Poe-Whistler… He is through and through a painter, which is seldom the case with Germans.

Berlin, December 1907:

In the evening the Rilkes came to dinner. She has something great and simple, willful, almost masculine. He appears to be the more feminine of the two. When he sits, while speaking, crunched up in his chair, his legs and arms crossed, you get the impression from his thin body and his soft voice, that sounds as if were the pleading, of an ugly young girl. He spoke of Prague, Russia, Paris, always in quite long, soft, somewhat precious sentences.

Berlin, February 1910:

Met the writer Sternheim at the Meier-Graefes’ in the evening. He has a rather elegant wife off of whose money he lives. He was introduced to me yesterday by Cassirer and immediately laid out a plan for a writer’s trust. Today he launched into obscure theories about tragedy. In a tragedy, the hero is not tragic, but the world around his hero, his milieu. That’s why Hamlet for example should actually be called "the world around Hamlet,” Lear, “the world around Lear,” etc… I asked Sternheim what then was the difference between the hero and a madman? Clearly he couldn’t answer for he employed all sorts of metaphysical expressions. Meier-Graefe asked me, while I was leaving, what I thought of Sternheim. I said, “Crazy.” As Meier-Graefe later told me, Sternheim said to him, when he went back to his guests, “How happy I am to have met Count K. Finally a man who understands me!”

Paris, June 1911:

After breakfast went to the exhibition of the Henry Bernstein collection: Cézannes, Renoirs, Bonnards, Vuillards, etc. There I met Rilke, who was completely taken by the Cézannes. He is now so totally obsessed with Cézanne that he is blind to everything else. Of the mountain in the House in Provence he says, “Since Moses no one has seen a mountain thus.”

Paris, July 1911:

My attention today was fixed almost the entire time on Rilke’s enormously fat lips (especially the lower lip) and on the smell of fruit, which dominates his rooms like in the apple room of an old country house, and circulates in the fresh, warm air from outside, old-fashioned and a little old-maid like. This mouth in this atmosphere, a mixture of the old maid and sensuality.

Paris, May 1912:

In the evening the premiere of The Rite of Spring. A completely new choreography and music… A thoroughly new vision, something never before seen, enthralling, persuasive, is suddenly there, a new kind of wildness, both un-art and art at the same time. All forms laid waste and new ones emerging suddenly from the chaos.

Budapest, February 1915:

Sat alone in the Hungaria in the evening and during this first respite from the immediate presence of the war in seven months, I reflected on it. War is a situation to which you become accustomed, alas. You form bonds in war with an intensity and naiveté such as you only do in youth (Schoeler, Below). We are fearful in normal life and only under fire, confronting death, do we ask ourselves why, like the child when the curtain falls in the theater. This “why,” this somewhat naive problem of the fear of death, becomes gradually clear to you in a war. Gradually you grow numb to shrapnel and death. Paradoxically you live life then all the more intensely: friends, nature, all beauty. War has taught me to love and admire man infinitely more, whom it has revealed to me in all of this horror, baseness, greatness, and sweetness. I have seen him as an animal and as a god.

I’ll end there, though the diaries have another few hundred (compelling, sad) pages to go. Much more of the war. A life in Switzerland. The Epilogue, by the book’s editor and translator, Laird M. Easton, is perfect.

Obviously, Journey to the Abyss is a book I highly recommend. I wish Alex Ross’ terrific essay-review, which prompted me to buy it, was by now in front of the pay wall, but it’s not. I’ve just found another long piece about the book, this time from James Fenton in The Atlantic. It’s titled, appropriately, “Everywhere Man.” About to dig in.

Count Harry Kessler: "You Cannot Waste Time When You're Young"

Sun, 30 Sep 2012 21:18:00 -0500

Last April, I read an extraordinary review-essay by New Yorker classical music critic Alex Ross about the following book: Journey to the Abyss: The Diaries of Count Harry Kessler, 1880-1918. Ross, one of my favorite cultural writers, told a vivid story of someone with seemingly unlimited reach in European cultural circles, someone who might have breakfast with Rilke, discuss art with Rodin over lunch, spend an early evening looking after a deteriorating Nietzsche, and look ahead to a weekend with Vuillard. Or Degas. Or Monet. A man who kept note of it all — not just logging it, but commenting, analyzing, thinking on the page.

Ross’ piece is still subscription-only (11/23/12 update; he’s posted it his on site), but Amazon’s page for the diaries offers this bit from his New Yorker review:

A document of novelistic breadth and depth, showing the spiritual development of a lavishly cultured man who grapples with the violent energies of the twentieth century…also a staggering feat of reportage. The war fever infected Kessler…[he] does not hide the grimness of the scene. For the reader, it is a shock to be deposited in such hellish landscapes several pages after watching the antics of Diaghilev and company; few books capture so acutely the world-historical whiplash of the summer of 1914…The supreme memoir of the grand European fin de siècle.

Within about 10 minutes of reading Ross’ review, I’d put the book on my Must Buy list, and by the time my birthday rolled around in June, a loved one had gifted it to me. I’m only 330 pages into the 850 total, but I can say that it is indeed extraordinary.

Here is Kessler in his early 20s, in 1891, writing to himself from Paris:

Went with Papa in the evening to the Folies-Dramatiques. On the way home spoke to him about my project of a trip around the world, and he gave his consent. If everything goes well then from November until next October over Egypt, India, Indochina, Java to Australia, then New Zealand and North America.

That’s how Kessler rolled.

Berlin, February 1895:

For my part the way in which a girl places her feet while dancing or how a young officer holds his horse with his thigh gives me a joy that, in this way, none of the so-called orthodox works of art can. I find in such movements, of which a drawing, for example — even done by the Japanese — can only provide a snapshot, a secret beauty, an unconscious style, which enchants me more than all the perfect of fixed forms.

Paris, July 1895, amid a visit to Paul Verlaine:

Finally he promised me to draw a portrait of Rimbaud as well as he could from memory, the existing ones, with the exception of the Fantin-Latour, are all bad. He also spoke again today more than was necessary about earning money, but he is so naive in this that his grasping had actually nothing repellent about it. It resembled more the fondness for sweets of a child than the usual greed.

Berlin, 1896:

Yesterday and today I read for the second time, after four years, Schopenhauer’s Principle of Sufficient Reason. It is notable how many new voices books, which like this one are deeply thought, acquire over time, and how difficult it is — I notice this in my marginal notes — to recover the old impressions and thoughts. Such a work, read for the second time — and this is even more true for literature — is like a yardstick against which you can measure the change in your self over time. And there are also works, the most powerful and the deepest, that you must read over and over again throughout your life, which, like medieval cathedrals at different times of the day, in the morning light, in the glow of the afternoon, and in the cool gray of evening, are always changing and becoming new. You cannot waste time when you’re young, otherwise it is too late, and you have missed forever the morning light of the masterpieces, perhaps their most splendid lighting.

Brussels, 1897:

When it comes to art, what the idiot looks for in an artwork is the confirmation of his way of viewing, thus the satisfaction of his vanity. The artist is supposed to prove to him what a fine observer of nature he — the eternally complacent, the good citizen, the Sunday art connoisseur — is. True art demands, however, renunciation temporarily so that afterward you can walk away all the richer. All art that does not enter the nerves and senses of those who enjoy it, so that they who have experienced it see or feel the world from then on with something of the genius of the artist who has moved them, is, in the end, not worth being produced.

Weimar, 1904:

Munch painted my portrait.

My reading continues.

“The Gass Sentences: A Top 50”

Mon, 30 Jul 2012 07:13:19 -0500

Today is William Gass’ 88th birthday. For the Big Other website, John Madera asked some writers, readers, and publishers to name their own “literary pillars,” as a tribute to Gass and his “50 Literary Pillars” project from the early 1990s. After being invited to contribute, I went in a slightly different direction.

Discussing "J R"

Wed, 04 Jul 2012 08:39:59 -0500

At Open Letters Monthly, Greg Gerke and Gabriel Blackwell have a long and interesting discussion about William Gaddis’ masterful novel.

Len Gutkin on "J R"

Sat, 09 Jun 2012 13:42:17 -0500

I love seeing meaty new pieces on William Gaddis’ “J R,” which has just been released by Dalkey and remains one of the best novels I’ve ever read. Describing the book in one paragraph is tough, but Gutkin, writing for Book Forum, does pretty well:

J R follows the rise and fall of JR Vansant, an eleven-year-old sixth-grader in Long Island who builds a massive financial operation by telephone. Gaddis assembles an enormous cast of characters around JR, all of whose lives come to intersect in some way with the sixth-grader’s paper empire. There’s his teacher Amy Joubert, who unwittingly introduces JR to the power of finance when she takes her students on a field trip to Wall Street, where her uncle runs the powerful Diamond Cable corporation. There’s Jack Gibbs, the manic, drunken physics teacher, in love with Amy and his own thwarted ambition. There’s Edward Bast, an aspiring composer hired with an arts-foundation grant to teach at JR’s school, where, hilariously, he is expected to direct a sixth-grade production of Das Rheingold (JR, of course, in the role of Alberich). Naïve and easily bullied, Bast finds himself coerced into acting as the JR Corp.’s public face, and throughout the novel he remains the only character aware that the new corporate mastermind is just a kid. The book’s comic invention is huge, complete with such vivid secondary characters as Crawley, a hunting-obsessed stockbroker who commissions Bast to write “zebra music” for the soundtrack to a film lobbying Congress to transport African big game to US national parklands, or Mr. Whiteback, the middle school principal who also runs the local bank from his office. Gaddis excels at serious farce, like Nathanael West on a massive canvas.

Craig Mod: "Hack the Cover"

Tue, 29 May 2012 20:21:00 -0500

As ever, Mod offers smart, forward-looking thoughts on books and publishing. His central question:

[I]f so much of what book cover design has evolved into is largely a brick-and-mortar marketing tool, then what place does a ‘cover’ hold in digital books? Especially after you purchase it? But, more tellingly, even before you purchase it? If you’re interested in the questions, you’ll be interested in the entire essay. Recommended.

"Not His Riches, But Ours"

Sun, 13 May 2012 08:30:00 -0500

A member of the Wallace-L listserv posted this Pascal quote this morning, commenting (insightfully) on how it brings to mind many statements DFW made about reading and indeed love:

When a natural discourse paints a passion or an effect, one feels within oneself the truth of what one reads, which was there before, although one did not know it. Hence one is inclined to love him who makes us feel it, for he has not shown us his own riches, but ours. And thus this benefit renders him pleasing to us, besides that such community of intellect as we have with him necessarily inclines the heart to love.

Craig Mod on Building an App (and a Book)

Thu, 29 Mar 2012 12:04:08 -0500

As thoughtful and personal as his previous pieces.

Dwight Garner: "The Way We Read Now"

Sun, 18 Mar 2012 09:28:40 -0500

Great piece in The New York Times, with clear-eyed (and entertaining) commentary from a writer and book critic about how technology has improved his reading life. This bit comes from his section on the smartphone:

Keep an audio book or two on your iPhone. Periodically I take the largest of my family’s dogs on long walks, and I stick my iPhone in my shirt pocket, its tiny speaker facing up. I’ve listened to Saul Bellow’s “Herzog” this way. The shirt pocket method is better than using ear buds, which block out the natural world. My wife tucks her phone into her bra, on long walks, and listens to Dickens novels. I find this unbearably sexy.

Tim Parks Defends E-Books

Mon, 20 Feb 2012 10:54:40 -0500

At the New York Review of Books blog, a refreshingly contrarian post:

The e-book, by eliminating all variations in the appearance and weight of the material object we hold in our hand and by discouraging anything but our focus on where we are in the sequence of words (the page once read disappears, the page to come has yet to appear) would seem to bring us closer than the paper book to the essence of the literary experience. Certainly it offers a more austere, direct engagement with the words appearing before us and disappearing behind us than the traditional paper book offers, giving no fetishistic gratification as we cover our walls with famous names. It is as if one had been freed from everything extraneous and distracting surrounding the text to focus on the pleasure of the words themselves. In this sense the passage from paper to e-book is not unlike the moment when we passed from illustrated children’s books to the adult version of the page that is only text. This is a medium for grown-ups.

"The Germans Dive Deeper"

Sat, 11 Feb 2012 15:55:00 -0500

Peter Watson's The German Genius: Europe’s Third Renaissance, the Second Scientific Revolution, and the Twentieth Century is an extraordinary 1,000-page book. It is immensely ambitious, rich in ideas and evidence of the German-speaking peoples’ world-changing achievements in music, literature, philosophy, psychoanalysis, biology, geology, bioethics, archeology, art history, and on and on. (On music, to take just one subject: “The standard ‘backbone’ of classical music consists today of Bach, Handel, Haydn, Mozart, Beethoven, Schubert, and Brahms — all German.”)

Watson, an intellectual historian and former journalist, is a confident, resourceful, learned guide. He succeeds not just in illustrating how Germany was the leading force in the world of ideas until 1933, but also in helping the reader consider the country since it was ever-changed by the Führer and the Nazi Party (“Hitler still makes history but he also distorts it”). As a writer and historian, Watson is sharp and entertaining, as evidenced by these well-drawn, memorable sketches and assessments of just some of the book’s key figures:

Brahms:

Prickly, oversensitive, cynical, and bad-tempered, he was as much feared and disliked as Hans von Bülow, who was notorious for his tempers and antagonisms. At one party in Vienna, it is said, Brahms left in a huff, grumbling, “If there is anyone here I have not insulted, I apologize.”

Strauss:

Paradoxically, Strauss was himself a solid bourgeois, with a sober — even staid — private life. Alma Mahler was at the rehearsal of Feuersnot in 1901 and confided to her diary: “Strauss thought of nothing but money. The whole time he had a pencil in hand and was calculating the profits to the last penny.” His wife, Pauline, was a grasping woman, once a singer, who would scream at her husband, when he was relaxing at cards, “Richard, go compose!” Their house at Garmisch had three separate doormats, on each of which Pauline insisted that the composer wipe his feet.“

Schoenberg:

Richard Strauss was ambivalent about Arnold Schoenberg. He thought he would be better off "shoveling show” [!] than composing, yet recommended him for a Liszt scholarship.“ … A small, wiry man, "easily unimpressed,” who went bald early on, Schoenberg was strikingly inventive — he carved his own chessmen, bound his own books, painted (Wassily Kandinsky was a fan), and built a typewriter for music.

Mann:

When war broke out, Thomas Mann — as we have seen — was as nationalistic as many others. He was not yet one of the giants of European literature but he did have a growing reputation. He volunteered for the Landsturm, or reserve army, but the doctor who examined him was familiar with his work and, reasoning that he would make a greater contribution to the war effort as a writer rather than as a soldier, failed him physically for active service.

Kafka:

Kafka is best known for three works of fiction … But he also kept a diary for fourteen years and wrote copious letters. These reveal him to have been a deeply paradoxical and enigmatic man. He was engaged to the same woman for five years, yet saw her fewer than a dozen times in that period; he wrote ninety letters to one woman in the two months after he met her, including several between twenty and thirty pages, and to another he wrote 130 letters in five months. He wrote a famous forty-five-page typed letter to his father when he was thirty-six, explaining why he was still afraid of him.

Marx:

Along with his fellow German-speaker, Adolf Hitler, Karl Marx probably had a more direct effect on the recently completed twentieth century, and the shape of the contemporary world, than any other single individual. Without him there would have been no Lenin, no Stalin, no Mao Zedong, and few if any of the other dictators who disfigured those times. Without him there would have been no Russian Revolution, and without World War II (or Max Planck and Albert Einstein), would there — could there — have been a Cold War, a divided Germany? Would decolonization have occurred in the way that it did, would there have been an Israel where it is, the Middle East problem that there is? Would there have been a 9/11? Ideas don’t come any more consequential than Marxism.

Freud:

Sigmund Freud’s influence was less catastrophic than Marx’s, but no less consequential…. Alfred Kazin, the American critic, maintained in an essay he published in 1956 to mark the one hundredth anniversary of Freud’s birth that “Freud has influenced even people who have never heard of him.” Kazin thought that, at mid-century in America, “to those who have no belief, Freudianism sometimes serves as a philosophy of life.” He thought that at “every hour of every day now,” people could not forget a name, feel depressed, or end a marriage without wondering what the “Freudian” reason might be. He thought that the novel and painting (Thomas Mann, T. S. Eliot, Ernest Hemingway, William Faulkner, Pablo Picasso, Paul Klee, Expressionism, Surrealism, Abstraction) had been reinvigorated by the Freudian knowledge that “personal passion is a stronger force in people’s lives that socially accepted morality” and that the “most beautiful effect” of Freudianism was the increasing awareness of childhood “as the most important single influence on personal development.” He thought the insistence on personal happiness — the goal of psychoanalytic therapy — was the most revolutionary force in modern times, a modern form of self-realization.

Nietzsche:

Nietzsche’s most well-known — some might say notorious — aphorism is “God is dead.” One of his most important achievements, along with Max Weber, was to think through and confront the implications of that sentiment, to work out in what he saw as terrifying detail the consequences of modernity, a world of vast populous cities, mass transport, and mass communications, in which the old certainties had been dissolved, where the comforts and consolations of religion had disappeared for many people, and in which science had acquired an authority that was, in his view, as arid and empty as it was impersonal and impressive. It is in this sense that Martin Heidegger called Nietzsche the “culmination” of modernity — i.e., Nietzsche felt the loss of whatever had gone before more keenly than anyone else, and he described that loss in more vivid hues.

Beuys:

All this was overshadowed by the advent of Joseph Beuys, who stands apart (and, for many people, above) all else in German postwar art. Beuys, born in Krefeld in 1921, never deviated from his conviction that his artistic aim was to find a new visual language that would come to terms with the war and at the same time find a way forward that did not ignore all that had happened.

The work of art, Beuys believed, exists in “eternal time, historical time, and personal time.” Having himself been shot down over Russia as a Luftwaffe pilot in the Second Wold War, he was treated for frostbite by his Russian captors, who used felt and fat, which became the materials Beuys used in (some of) his art, fused with other, less personal substances. He felt the spectator should be aware of what these materials meant to the artist, adding a level of consciousness to the aesthetic experience (as a boy he used a tram stop near an important monument), with the national past, featuring railway lines to remind the viewer what railways were used for in Nazi Germany. But, his lines were slightly curved, to hint at progress, a way forward, and up. In experiencing the present-day beauty of his sculptures, Beuys is saying, we must relive past events — this is his dialogue with time.

Congrats to Watson for completing such a tremendous volume of history. I recommend it highly.

Building a Mind Created in Words

Thu, 02 Feb 2012 22:43:00 -0500

Two passages, among many, that struck me in William H. Gass’ wonderful new essay collection Life Sentences: Literary Judgements and Accounts:

From “The Literary Miracle”:

Emerson’s essays build the mind that thinks them. It is that mind that is the miracle that interests me. Did he think the thinker who then thinks his thoughts? “The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end. It is the highest emblem in the cipher of the world.” I don’t believe he began by having “the eye is the first circle” arrive in his own inward office like a parishioner with a problem, and that, subsequently, he copied this thought down exactly the way it appeared when it knocked, and as he would have been required to had the words come from Allah or from God. He wrote them down so he could think their thought. And when he thought, “the eye is the first circle,” I’ll bet he didn’t know what the second circle was. But writing notions down means building them up; it means to set forth on a word, only to turn back, erasing and replacing, choosing and refusing alternatives, listening to the language, and watching the idea take shape like solidifying fog.“

From "Spit in the Mitt,” about baseball and his father:

We listened to ticker re-creations together—always the Indians, always blowing a lead. You could hear the click of the wireless sometimes as the announcer turned the tape’s dry and sullen information—F8—into a long drive which Earl Averill pulled down against the wall after a mighty run. Later, I would realize that those radio matches were more interesting than games seen on TV or from a poor seat in some vast modern stadium, because they were conveyed in symbols, created in words, and served to the field of the imagination.

Nicholas Carr: "Why publishers should give away ebooks"

Tue, 31 Jan 2012 18:44:04 -0500

Kind of.

Readers today are forced to choose between buying a physical book or an ebook, but a lot of them would really like to have both on hand - so they’d be able, for instance, to curl up with the print edition while at home (and keep it on their shelves) but also be able to load the ebook onto their e-reader when they go on a trip. In fact, bundling a free electronic copy with a physical product would have a much bigger impact in the book business than in the music business. After all, in order to play vinyl you have to buy a turntable, and most people aren’t going to do that. So vinyl may be a bright spot for record companies, but it’s not likely to become an enormous bright spot. The only technology you need to read a print book is the eyes you were born with, and print continues, for the moment, to be the leading format for books. If you start giving away downloads with print copies, you shake things up in a pretty big way.

I’ve daydreamed about this before. Would enjoy seeing it happen. (I had no clue, by the way, that vinyl-record buyers like Carr are indeed scoring free digital copies of the music.)

Franzen on Books, E-Books, and Permanence

Mon, 30 Jan 2012 15:22:00 -0500

Jonathan Franzen, regretting the rise (and, it seems, existence) of e-books:

Someone worked really hard to make the language just right, just the way they wanted it. They were so sure of it that they printed it in ink, on paper. A screen always feels like we could delete that, change that, move it around. So for a literature-crazed person like me, it’s just not permanent enough.
For serious readers, Franzen said, “a sense of permanence has always been part of the experience”. “Everything else in your life is fluid, but here is this text that doesn’t change,” he continued. “Will there still be readers 50 years from now who feel that way? Who have that hunger for something permanent and unalterable? I don’t have a crystal ball. But I do fear that it’s going to be very hard to make the world work if there’s no permanence like that. That kind of radical contingency is not compatible with a system of justice or responsible self-government.”

Luckily for Franzen, not all printed books are as permanent as all that. From the October 2011 article “Jonathan Franzen’s book Freedom suffers UK recall”:

In a highly embarrassing move, publishers HarperCollins were today forced to offer to exchange thousands of copies after Franzen revealed that the UK edition of a novel dubbed “the book of the century” is based on an early draft manuscript, and contains hundreds of mistakes in spelling, grammar and characterisation.
More than 8,000 copies of the faulty first edition have been sold since it was published last week, with 80,000 hardbacks of the book in print. The mistakes were discovered yesterday.
Franzen told the Guardian that the book, the follow-up to 2001’s Pulitzer Prize-nominated The Corrections, contained “a couple of hundred differences at the level of word and sentence and fact” as well as “small but significant changes to the characterisations of Jessica and Lalitha” – the daughter and the assistant of one of the novel’s central characters.
HarperCollins, who say the errors are mainly typographical, have launched a hurried operation to let purchasers exchange their faulty copy via bookshops or pre-paid post. The new version is being rushed through the printers over the weekend and will be available early next week.