1. This expressionist portrait of Joyce Carol Oates is one of many interpretations of modern authors by Swedish artist Carl Kohler, who died in 2006.
2. If you prefer cute to modern expressionist, here's John Pupdike on Etsy.
3. Sarah Palin's new memoir appears to be a hit, enraging many Americans who dislike her, but I think it's time for many of us to lighten up about this clever charmer. Palin is clearly not qualified to be President -- but then neither was George W. Bush and he actually got elected, whereas Sarah Palin does not seem interested in playing it safe and is really very unlikely to even get her party's nomination in 2012. I strongly disagree with almost everything she stands for, but I think it's a waste of effort for liberals to focus their anger on the one funny and brash big talker in the conservative gang, instead of on the countless bland mumbling nobodies selling similar platforms, like Mitt Romney, Joe Lieberman, Mitch McConnell, John Boehner and Dick Cheney.
I do thank God that John McCain and Sarah Palin did not win the last election, but I honestly believe that Sarah Palin was the less dangerous part of that ticket, if only because she appears to have no foreign policy agenda at all, unlike John "blood and guts" McCain, who wanted to be a war hero so bad he probably stormed the beaches at Normandy every night in his dreams.
Anyway, I do think a Jonathan Safran Foer vs. Sarah Palin cage match is great idea. And Tom Watson also semi-defends Sarah Palin here.
4. The American Library Association is looking for your essays about libraries.
5. Electric Literature will be tweeting a new work by Rick Moody. I have watched a few "tweeted novels" fly by, usually in disjointed reverse-chronological sentence fragments that repel any attempt at reading. Will these apparently clued-in folks find the formula that works? Hint: we write our tweets forward, but we read them backwards. Hint #2: if you're tweeting a novel and you can't make your sentences work at 140 characters or less, you're really not tweeting a novel.
6. I like these classic British rock stamps a lot.
7. A robotic version of Shakespeare's A Midsummer Night's Dream, on the other hand, just creeps me out.
8. Despite being billed as "best writing tips ever", Allen Ginsberg's newly published writing tips aren't quite as great as his friend Jack Kerouac's. But they are pretty good.
9. Maud Newton is related to Pretty Boy Floyd.
10. Was Nietzsche pious? Maybe so, maybe so.
11. Frequent LitKicks contributor and Proust expert Mike Norris on being an ESL teacher in Paris.
12. Some good literary agents who are looking for new writers.
Some of my literary/blogger friends have taken to tweeting their literary links. Not me -- I'm holding out for the blog format, just like McSweeney's is holding out for newspapers. Here's another roundup involving great writers and other finds ...
1. Nature magazine goes way back.
2. Orhan Pamuk's real-life Museum of Innocence.
3. The many facets of Roberto Bolano.
4. The many quirks of William Golding, who originally wanted Simon the Christ symbol to actually witness the arrival of God in his great Lord of the Flies.
5. PopMatters interviews Nicholson Baker.
6. Gregory Maguire, whose Wicked novel is much better than the Broadway musical created from it, joins in on an open publishing experiment.
7. Holocaust victim Horst Rosenthal had the idea for Maus before Art Spiegelman.
8. Jessa Crispin tells it like it is.
9. I had no idea that Stanley Kubrick got "Daisy" from a real singing computer.
10. In my opinion Nick Cave sang the best "Stagger Lee".
11. Bill Ectric presents an excerpt from Tamper.
12. Probably inspired by Clarence Clemens's enjoyable and funny new book Big Man, Bruce Springsteen may write an autobiography. All the newspapers are blubbering about the size of his advance, but why shouldn't he get $10 million? He's that good, and I would love to read this book.
Sigizmund Krzhizhanovsky's Memories of the Future is a tougher call for me. Liesl Schillinger invokes Gogol and Kafka (three separate times) in her account of this long-dead early Soviet-era modernist's career collection, but I find myself reading between the lines to detect a strong note of weariness in this putatively positive review. Krzizhanovsky clearly likes to explore the fictional boundaries between surreal dreaminess and reality, and personally I know I can live without a lot of fiction that covers this territory. I always like Liesl Schillinger's sympathetic reviewing style, but at times I wonder: is she capable of actually panning a book she doesn't like? That's not to say that she doesn't like this one as much as she claims to, but after finishing her review I know that I never ever want to read this book.
It's more fun when a critic just goes apeshit on a respectable book he doesn't like, as Tom Shone does with Jan Kjaerstad's The Discoverer:
Reviewing books doesn't often feel like real work -- not the kind of work that makes you break a sweat or join a union. So when an editor from the New York Times calls you up and asks if you want to review a new novel from Norway, and the nmovel turns out to be not only over 400 pages long and largely set in a fjord, but also Part 3 of a trilogy, Parts 1 and 2 of which ran to over 1,000 pages, with multiple narrators and a nonlinear time scheme -- yeesss -- then you jump at the chance to take your place as a worker among workers.
This is only one of several funny sequences in which Shone demolishes this book. I know little about Kjaerstad and have no idea whether this assault is deserved or not. But I did have fun reading it.
Further brainy material in this Book Review includes Josh Emmons on The Interrogative Mood: A Novel?, which apparently is constructed mainly from questions, David Hajdu on Robert Crumb's illustrated Genesis and Gaiutra Bahadur on Amit Chaudhuri's The Immortals, which seems to have something to do with the Bengali raga scene. Less brainy material includes Mary Duenwald on Juliet, Naked, the latest Nick Hornsby book I won't be reading.
Speaking of books I won't be reading, Gregory Cowles is very kind to Jonathan Lethem's Chronic City in a lush cover piece. I've expressed my lack of affection for Lethem's fiction enough elsewhere, so I'll just keep quiet about this one. Whatever you like, Book Review.
I respect book reviewer and Internet-culture critic John Freeman, author of The Tyranny of Email -- in fact, I've exchanged emails with Mr. Freeman (true to his dislike of the form, his email style is very brief). I would be excited to read nearly any book by John Freeman, so I'm disappointed to find he's got nothing better to do than join Lee Siegel and Andrew Keen on the bash-the-Internet bandwagon. These kinds of books feel simplistic and obvious to me, and future generations are sure to laugh at them all. At least Ben Yagoda seems to get it, and takes Freeman's book convincingly to task for assuming that technological innovation can only have a destructive, never a constructive, effect on human creativity.
1. I've seen a lot of things in my life, but I've never before had the pleasure of watching a bookstore get born. I met blogger/bookseller Jessica Stockton Bagnulo three years ago when we both joined the Litblog Co-op at the same time, and I noted it here in January 2008 when she was awarded seed money to start her own bookstore in Brooklyn. The store is now about to open and looks just great. I hope to make it to the opening day party this Saturday at 7 pm, and you're invited too ...
Is it a smart editorial strategy for the Book Review to unhinge itself from its Sunday roots, to dissipate its articles amorphously and asynchronously into the "cloud" so that a Book Review article is just another distinct blip, another node? If the Book Review loses its lazy weekend aura and its collective identity, what of it will be left? I'm not sure. I hope the Times knows what it's doing here.
With that said: Maureen Dowd's review of The Lost Symbol is a disappointment. She mocks Dan Brown for writing about a subject as silly as the Masons, which means she is apprehending this book on the most superficial possible level: embarrassment. She won't even enter its world, won't even suspend disbelief, because there might be men with funny hats in this book. Her wisecracks about the Masons are weak and predictable, as when she refers to a famous painting of George Washingon "wearing full Masonic regalia, including a darling little fringed satin apron". Right, and in India they wear towels on their heads. As silly as it may seem today, the Masonic movement has a serious intellectual past, and it's a shame that Maureen Dowd's article refuses to rise above the level of smirking condescension at the very idea of the topic:
In interviews, Brown has said he was tempted to join the Masons, calling their philosophy a "beautiful blueprint for human spirituality." In the next opus, Langdon will probably be wearing a red Shriner's fez with his Burberry turtleneck and Harris tweed.
Maureen Dowd risks nothing in this review, but Nicholas Wade dares to challenge the blustery popular athiest Richard Dawkins in his review of The Greatest Show On Earth: The Evidence For Evolution. The book claims that Darwinian evolution should no longer be called a theory, since it has been proven to be fact. Wade corrects him: evolution can never be anything but a scientific theory -- a very good one, but still a theory -- though historians can rightfully consider evolution a historical fact. Wade parses a difficult argument skillfully here.
There's a riveting piece by Joshua Hammer on Francine Prose's new study Anne Frank: The Book, The Life, The Afterlife, which finds in Anne Frank's diary not a random case of "found art" but rather a carefully constructed memoir by a very young "genius" who understood that she was doomed and wanted to leave a testament behind. Elizabeth Samet comes up with an arresting thesis in her review of William Styron's Suicide Run: Five Tales of the Marine Corps: Styron's military career never brought him into combat, and he therefore suffered from a literary equivalent of survivor's guilt.
A. S. Byatt's latest novel The Children's Book sounds like a real corker, as described by Jennifer Schuessler, as does A Bomb In Every Issue, Peter Richardson's history of Ramparts magazine, reviewed by Jack Shafer. Bruce Handy hits at least one nail on the head in his satisfying endpaper about the upcoming Spike Jonze/Dave Eggers film version of Maurice Sendak's Where The Wild Things Are: there is not much in this book to hang a movie on to, and a lot of kids never liked the book to begin with. Handy's article helps me understand my own lack of interest in seeing this movie, even though I'm happy to look at the dreamy film stills and previews. But Handy also writes:
Having now cheerfully dumped on a bunch of classics, I feel better.
Hmm. Was that really the best choice of words?
Elsewhere in today's New York Times, Oxford University Press linguist Ben Zimmer offers a nice tribute to William Safire in the Magazine, on the page where Safire's column used to be found.
My great-grandfather Elias Trichter was a Mason, a member of the Cambridge Lodge 622 of the Free and Accepted Masonic Guild of Brooklyn, New York. He died before I was born, but I inherited an elaborate plaque, titled MASONIC HISTORY and signed and stamped to commemorate his initiation as a Master Mason on February 21, 1910, witnessed by brothers Mortimer Carman, Howard J. Fitzpatrick and James A. Nixon.
The plaque is decorated with biblical scenes and scientific and engineering symbols, all revolving around a large illuminated letter "G" (said to stand for either Geometry, God or both). The Masons are known to be a quasi-religious organization that respects all religions, and the fact that my great-grandfather, an Orthodox Jew, congregated here with fellow Brooklynites named Carman, Fitzpatrick and Nixon proves this to be more than an empty claim. I'd love to know what they did at this lodge, though I imagine it was more recreational than mystical. Perhaps joining a lodge was the social networking of its time.
Today, it's easy to make fun of Masons and Shriners and the International Orders of the Friendly Sons of the Raccoons (as the fake Masonic Lodge in Brooklyn that Ralph Kramden and Ed Norton belonged to in The Honeymooners was called). A condescending New York Times article by Maureen Dowd about Dan Brown's popular Masonic-themed novel The Lost Symbol (also known as the book that will save publishing) is fairly sarcastic about Dan Brown's interest in the Masonic tradition:
During the five years he researched this book, did Brown begin to believe those sensational stories about how, if you expose the secrets of the Masons, they will slit your throat? Did he discover that the Masons are not merely a bunch of old guys dressed up in funny costumes enjoying a harmless night away from the wives? Could they really be, as a recent Discovery Channel documentary on the ancient order wondered, "Godless conspirators bound to a death pledge who infiltrate institutions and run the world"?
It's also easy to make fun of Dan Brown's novels. Like The Da Vinci Code, which it resembles closely, The Lost Symbol is shamelessly over-plotted and requires a willing suspension of disbelief. However, readers of "fine literature" should not necessarily stay away.
For all Dan Brown's excesses, his books are undoubtedly intelligent -- not in a "correct" way but in terms of historical ambition and research. In The Lost Symbol we are pounded with surprising facts about the history of several buildings in the Washington DC area. We are introduced to Albrecht Durer, Ben Franklin and Isaac Newton. Several puzzles involving ancient religious and mathematical symbols are introduced, and in the end everything fits together like the gears of a handmade clock.
As in Da Vinci Code, the intricate detail work involved in plotting this phantasmagoria is hard to imagine. I know a lot about history, but I cannot imagine the amount of research Dan Brown must have done to have been able to make this book as satisfying as it is. It took him five years to write The Lost Symbol and I bet he worked every day of these five years.
The Lost Symbol is more philosophically ambitious than Da Vinci Code, and after the primary conflicts are resolved Brown tips his hand with a multi-chapter coda that reaches almost preachily for a big message. Religious truth that transcends petty rivalries between debased human religions is part of this message; Brown also invokes Carl Jung and Albert Einstein in positing a collective human consciousness, and urges us to believe that in their purest forms religion and science must converge. These are progressive and revelatory messages, and I'm glad millions of people are reading this book. I wonder if my great-grandfather Elias Trichter would have enjoyed it as much as I did.
Yeah, we've heard the story of our victory over the Soviet Union a thousand times. Sheehan's book focuses on the internal Pentagon battle between proponents of airplane-based vs. missile-based nuclear weaponry (missiles held the day, and apparently this was the right decision). But Beschloss's review reads like a love letter to nuclear weaponry, and the deeper sadness of a world under permanent threat of nuclear destruction is not acknowledged here at all. Listening to old-school conservatives reminisce -- over and over and over -- about how we beat the Soviet Union with our big weapons is like listening to a poker player talk about his big winning hand -- over and over and over. The problem with this kind of nostalgia is that the stakes are still high, and we may not always pull out the winning card. Instead of rhapsodizing about how great nuclear missiles were in 1989, I'd love to hear Neal Sheehan, Bernard Schriever and Sam Tanenhaus tell us how we're going to deal with Mahmoud Ahmadinejad's nuclear program in Iran tomorrow. That's a cover article I'd love to read.
Ross Douthat, another of Tanenhaus's conservative favorites, reviews Karen Armstrong's The Case For God in today's Book Review. I wish a more creative thinker had been chosen for this task: Douthat dutifully covers the controversy between literal and metaphorical approaches to religion in newsy, topical terms -- how are the voters feeling about it? -- but offers neither artistry nor personal engagement. So, does Ross Douthat believe in God? Has Armstrong's book changed his feelings about religion in any way? You'll never find out by reading this sterile summary.
The Book Review covers several interesting non-fiction books today; I just wish the coverage were better. I'd like to know more about Nicholas Christakis and James Fowler's Connected, a surprising study in social psychology that posits the intriguing (and somehow believable) idea that "getting a $10,000 raise is less likely to make you happy than having a happy friend is", but the book's thesis barely survives Scott Stossel's dense explanation. Here's how the review begins:
For those of us not actively toiling in a university, most modern writing in the social sciences can be placed into one of three categories. The first category, which is vast, consists of the arcane and the incremental -- those studies so obscure, or which advance scholarship so infinitesimally, that they can be safely ignored by the general reader. (Not that this work isn’t important; it keeps academic publishing in business, and significant knowledge accretes in tiny drips on the way to tenure.) The second category consists of statistical proof of the obvious. (Some actual study findings published recently: "the parent-child relationship ... commonly includes feelings of irritation, tension and ambivalence"; women are more likely to engage in casual sex with "an exceptionally attractive man"; and driving while text-messaging leads to "a substantial increase in the risk of being involved in a safety-critical event such as a crash." Thank you, social science!) And in the third category, which is surely the smallest, are works of brilliant originality that stimulate and enlighten and can sometimes even change the way we under stand the world.
Do you want to keep reading this article? Me neither. Stossel hasn't even begun to tell us about the book he's reviewing yet.
Then, Pamela Paul mocks Po Bronson and Ashley Merryman's Nurtureshock: New Thinking About Children for containing nothing new. But young parents who read a book about the psychology of child-raising today may not care if a book contains something new -- they care if it contains something true.
Let's move on to fiction, where the offerings are slightly better. Christopher Hitchens is amusing but harsh on Nocturnes, Kazuo Ishiguro's new book of short stories taking place at night. Hitchens hates the book. He tosses wise guys like me a softball here:
It's the time of day that isn’t quite day when some people — such as myself — start to feel truly awake.
I'm not even going to crack the obvious joke and ask whether Hitchens is having it on the rocks or neat when this time of day makes him start to feel truly awake. Too easy.
The best article today is Jay McInerney on Richard Powers' Generosity: An Enhancement, a book I'm about to read. McInerney spends too much time obsessing over Powers' nerdy scientific focus, but rises like a Coma Baby to a deeper appreciation of the book's value by the article's end. I expect I'll be writing about this book myself here soon.
So, granted, Roman Polanski will rot in hell -- either in jail or in a fancy French villa. But what about the rest of us? What I'm finding surreal about the media circus following Polanski's arrest is the idea that we need to extradite a Polish/French film director from Switzerland to find a case of child rape to discuss in the United States. Why doesn't Kate Harding's much-praised and much-linked Salon condemnation mention that similar crimes to Polanski's are committed constantly, frequently, unceasingly every day right here in America? Why the sudden intensity of news coverage about this one case? Do we really need a celebrity to be arrested to understand how prevalent sexual abuse is in all our lives?
This is where I'm sensing hypocrisy -- and a disconnection from reality -- in much of this coverage. Think of your loved ones, your friends and family. Look around you on a busy street. It's a good bet that somebody here is a victim of sexual abuse. And here's the harder pill to swallow: it's also a good bet that somebody here is a perpetrator of sexual abuse -- in many cases, unlike Polanski, a perpetrator who will never be caught and stopped. Coercive rape and abuse of children happens all over, from Hollywood to every small town.
What disturbs me about the rabid invective being poured out from all sides about Roman Polanski is the idea that evil is something external, something exotic. "Put him in the cage, lynch him." Point your fingers: there he is, there's the bad man -- over THERE. I'm not buying it.
I am truly at a loss how to think about this. I had a conversation with my wife Caryn about it last night, after I posted a line from the Bible on Twitter:
Let he who is without sin cast the first stone.
"Do you really have to bring Jesus in to defend Roman Polanski?" Caryn said. She has a good point ... though on the other hand it's a fact that Jesus talked about forgiveness a lot. Again, though, none of us really care very much about Roman Polanski, and it's no big concern of ours whether or not he ever gets forgiven.
Forgiveness may be a difficult step, but beyond forgiveness is an even further goal, something harder to attain: understanding. What is it within human nature that makes presumably decent people like Roman Polanski do evil things? I would really like to understand.
We can lynch this one poor sorry fool, but I don't think that brings us any closer to an answer.
A critic who sets out to write a strongly negative review ought to open with a powerful point, but Caleb Crain actually punches himself with the opening paragraph, which posits many doubtful assertions as fact:
Work is activity that earns money. Lucky people enjoy their work, but even they might not do it without pay. To the extent that pay motivates, people work for the sake of something else -- so they can buy food, shelter, clothing, security, luxury or leisure -- and against their inclinations. Now, to do anything against one’s inclinations is to put one’s dignity at risk. It is fascination with this cold truth that draws children to blend sludge out of refrigerated leftovers and then dare one another: "Would you drink it for a hundred dollars? For a thousand?" Everyone has a price in theory; a worker is someone who has agreed to a number. He is exposed as someone under constraint, like a prisoner in a stockade. To mock him for being less than perfectly free in his thoughts and actions is easy.
This is some dense prose, and it expresses a surprisingly shallow point. Our connections with our jobs go much deeper than money. For many people, work is identity. It gives us our pride, our sense of self. Certainly work is a key part of who we are, not an activity we engage in with calculated detachment. I really don't know where Caleb Crain is coming from with this opener. He also doesn't mention the book he's reviewing.
He's better when he gets to the book, which, in his opinion, reeks of condescension. Crain finds de Botton a highly unreliable and capricious journalist, and he scores one killer punch here, describing de Botton's account of a dull interview with a bureaucrat in London:
De Botton decides that he pities the man for his hollowness. But it is evident that he was outplayed -- that he wasn’t prepared with questions detailed or insightful enough to oblige the executive to take him seriously. It shouldn’t have surprised him that the head of an accounting firm would know well how to keep his cards to himself while going through the forms of transparency.
Crain's point about de Botton's unconscious snobbery is a serious one, but interestingly Crain's prose has a snobbish undertone too, as when he drops a reference to the classical music term "ostinato" into a sentence. I can't stand that kind of pretension -- if I want to read about classical music I'll read a damn book by Alex Ross (and, to be honest, I don't want to read about classical music).
Crain's review also fails to connect the book to the long tradition of non-fiction literature about Americans at work: The Organization Man by Wiliam Whyte, Working by Studs Terkel, Gig by John Bowe and Marisa Bowe. All in all, I'll hand this match to Alain de Botton. Caleb Crain does not have a strong enough offense to pull this bad review off.
That's about as exciting as this weekend's NYTBR gets. Paul Bloom's meditation upon The Evolution of God by Richard Wright is meant to be a rave (he calls the book brilliant) but the points I manage to glean from this review are wishy-washy. Speaking of condescension, both Bloom and Wright seem to assume that only monotheistic Western religions deserve our awe, and I don't think much of the attitude expressed by this:
In fact, when it comes to expanding the circle of moral consideration, he argues, religions like Buddhism have sometimes "outperformed the Abrahamics." But this sounds like the death of God, not his evolution.
It's strange to imagine that anyone would want to read a modern history of religion that doesn't take Buddhism seriously; this book is called The Evolution of God and in my observation the Eastern religions have a more highly evolved sense of God than the Western ones.
Today's NYTBR also features David Gates on Love and Obstacles by Alexsander Hemon and Jeremy McCarter on a new biography of playwright Arthur Miller by Christopher Bigsby.
(Today's guest review is by Jay Diamond, whose latest blog is These American Roads).
On a day like any other, I'm walking in the NYU village past all the advertisements -- pasted, posted, and painted to walls, trash-cans, and even the sidewalk -- that lure unsuspecting undergraduates into schemes, scams, and sales. It's an interesting juxtaposition, the Madison Ave. machine next to the D.I.Y. aesthetic, both (illegally) posting their brands on public and private property. I turn off Broadway past a building undergoing another facelift in order to entice the high schoolers considering New York as their college destination, and possibly to convince their parents this isn't the urban war-zone that popular culture portrayed it as many years ago. And while seeing a building being renovated is common for any walk that lasts for more than two-blocks, something about this particular job catches my eye. More precisely, on the side of the dumpster collecting the scraps from the workers above, spray-painted in neon green, I notice a familiar phrase: "Who will watch The Watchmen?"
Ten seconds after the tinge of curiosity wares off, I think to myself that this tag is either the work of some wanna-be vigilante who plans to emulate characters from the graphic novel Watchmen, some over-zealous fanboy of said book, or a guerrilla-marketing campaign cooked up by an advertising firm trying to do something "edgy" to attract attention to the then-upcoming film-adaptation of the above-mentioned Alan Moore graphic novel. My best guess was one of the latter two, and it seemed like a sad fate for such an edgy piece of work.
Something tells me that while the comic Testament, whose 22 issues were recently condensed into the fourth and final part of a collection, comes from the same school of subversive thought as many of Alan Moore's works, it is, in its disgust for the state of our culture and humanity, much more of a morality tale. That isn't surprising considering the fact that the writer of Testament, Douglas Rushkoff, juxtaposes stories from the Old Testament with a narrative that takes place in a near-Orwellian future. Whereas Moore's work holds out little to no hope, for Rushkoff it's precisely his optimism -- the desire for his characters, and humanity as a whole, to better themselves -- that is one of the series' greatest strengths.
Abraham, Joseph, Job, and some other familiar stories are delivered alongside the tale of a modern group of malcontents struggling to fight a government controlled by corporate interests. Told alongside correlating biblical passages, Rushkoff illustrates history's curious disposition to repeat itself. But through this repetition, there is room for change. And while taking artistic cues from The Bible is not a new idea, it's Rushkoff's comic book medium sets it apart (even though much of the Superman story could be seen to have many religious parallels), but also places it alongside films like Strange Days, and of course The Matrix might be the best comparison, with its story of renegade cyberpunks fighting against an army of robots that has rendered mankind into docile state through a simulated reality. Due to greed, it isn't machines needed for human energy. In Rushkoff's vision, though, this seems to be the long march humanity is headed down.
Aside from the obvious fact that Testament is a comic book and The Matrix a film, one huge difference is that the latter calls upon a multitude of different philosophies from various cultures and religions to weave the tale of a human exodus that stems from an atheist prospective, whereas Testament relies on an ongoing dispute between several Hebrew, Egyptian, and Phoenician deities, and portrays this as the cause of many of humanity's problems. To his credit, Rushkoff never seems to get into a "right or wrong" argument (even though it's pretty easy to find oneself siding with the Judeo-Christian figures opposed to the aliens requiring child sacrifices), but does rely too much on the individual messianic approach that is obviously thrust onto main character Jake Stern from the very beginning of the series. I suppose as this is a story of the power of the human spirit to overcome evil, a savior figure is about as necessary as it is the cornerstone of The Bible's Old and New Testament.
Aided by artist Liam Sharp, Rushkoff strikes an extremely careful balance between his own intellectual background and the role of storyteller. As a fan and admirer of Mr. Rushkoff's many books and regular contributions to Arthur Magazine, I can't help but notice that the series Testament works as just that: a testament to the canon of ideas and subsequent writings that have flowed from the fertile mind of the man. In putting forth those ideas in the colorful panels of comic books, Douglas Rushkoff has not only given us a great work that is an extremely entertaining morality tale with sociopolitical themes that have been relevant for thousands of years, but is also one of the smartest comic book series that should be mentioned alongside the works of Neil Gaiman, Grant Morrison, and of course, Alan Moore.