Maggie Estep, the charismatic and accessible spoken word poet and author, has suddenly died of a heart attack. She was 50 years old.
Maggie Estep was a big part of the slam poetry scene that emerged from Chicago and New York City in the 1980s and briefly flared into pop culture via MTV in the early 1990s. Her early published works include records like Love Is A Dog From Hell. Later, she published novels including Alice Fantastic and the Ruby Murphy mystery series.
Back when I was an art class nerd in high school, I once struggled with an assignment to use "negative space". We were supposed to create a painting or artwork that communicated through the shape or presence of what wasn't there, rather than what was.
I didn't understand the assignment at the time, but I found myself thinking about "negative space" as I tried to figure out what was so fascinating about Gillian Flynn's popular mystery thriller Gone Girl. The palpable tension of the story emerges from the chasm of credibility that lingers between two parallel stories: the alternating first-person narratives of a husband and a wife in a very bad marriage.
I'll never forget where I was and how I felt when I read the closing pages of Paul Auster's City of Glass, the first and most crucial part of his New York Trilogy, and a formative book for me as a reader and writer.
City of Glass was a mock mystery novel. It opened with a noir-ish phone call that led a vulnerable narrator into a drama involving cruel language experiments that had been performed on a newborn child by a diffident and crazed professor. The child was now an emotionally disabled adult, permanently traumatized into an infantile state, and the professor was threatening to terrorize his victim again.
As the novel proceeded, the boundaries between the key characters began to bend and morph. Words were the mechanism of torture; the professor was trying to discern what natural or spiritually pure language an infant deprived of human contact would eventually speak. Words were also the breaking point of the novel's thrilling facade, as the disconnected mind of the professor's victim began to reveal itself in the narrator's own increasingly disconnected tale. The moment that most knocked me out in this book, I remember, was at the very end. The narrator has lost track of the desperate man-child he is trying to protect. He sits alone in an empty room, now lost beyond logic and sanity himself, and discovers without surprise that some mysterious person is laying out food for him to eat. This impossible but perfectly placed shift in the story completes the narrator's trajectory towards his own state of infantile helplessness -- a plot twist so unexpected but yet so perfect that I as a reader felt the room spin around me as I read it. I must have muttered incomprehensibly as I burned through these final paragraphs; I may have fallen off the couch where I was splayed out, gripping the book like a bungee cord over the chasm of existence. The infantilization described in the novel's final pages felt so powerful to me that I felt I had become infantalized myself for an infinitesimal blip of time.
By the time I crawled through the final pages of this poundingly satisfying first novel in a trilogy, I was a Paul Auster fan for life, even though I would discover that the remaining two novels in the New York Trilogy felt like a coda to the first. Ghosts and The Locked Room nicely complemented and completed City of Glass, but they didn't punch nearly as hard. I continued to eagerly read new Paul Auster novels as he published them -- Moon Palace, Leviathan, The Music of Chance -- and I liked them all, but gradually began to feel that all the novels after City of Glass were explorations into the beauty of random pointlessness, demonstrations of literary serendipity, easy and pleasant enough to read but lacking in definite reward.
The shaded cobblestone streets of Garden Rest are lined with shops, cottages, a pub, a boarding house near the town square, and of course, something nefarious lurking in dark hinterlands. John Shirley’s Doyle After Death reads like a classic Sherlock Holmes whodunit, with a couple of major differences.
First, it takes place in the afterlife, or as the people of Garden Rest prefer to call it, the Afterworld. A private detective named Nicholas “Nick” Fogg wakes up in the Afterworld after dying in a hotel room in Las Vegas. Also, flashbacks to the detective’s last case among the living give the story a touch of gritty noir realism.
The plot advances at a breezy clip that is somehow both relaxing and exhilarating, and Shirley has a knack for cinematic descriptions. In one nighttime scene, four men look down at the town from a steep hill and see a view like a rich chiaroscuro painting. Shirley's biographical knowledge of Arthur Conan Doyle informs the novel and confirms Shirley as a fan and a history scholar. He even includes an appendix, which expounds upon Doyle’s theories about the spirit world and incorporates those theories into the novel. Comic book collectors speak of the “Marvel universe” and the “DC universe.” This is the Doyle/Shirley universe.
The odds didn't look good for the new film version of The Great Gatsby this weekend, I thought, as I donned my plastic 3-D glasses and entered the dark theater. I wasn't expecting to like the movie much at all.
I don't love glitzy Hollywood spectacle, though I was willing to give the much-hyped new version of F. Scott Fitzgerald's great novel a chance because it was directed by Baz Lurhmann, a commanding figure in popular experimental cinema with an almost Warholian taste for edgy spectacle. I'd loved his Moulin Rouge, a wicked send-up of chic Paris in the era of Toulouse-Lautrec and absinthe.
If any big director was going to ruin Great Gatsby, I thought, it might as well be Luhrmann, who had apparently hired Jay-Z, Beyonce, Q-Tip, Lana Del Rey and Will.i.am for an anachronistic soundtrack (Moulin Rouge, similarly, gave us Nirvana's "Smells Like Teen Spirit" in 19th Century France, and made it work.)
But my hopes weren't very high as I entered the theater and put my Gatsby Glasses on. The idea of a 3-D version of a literary love story seemed ridiculous. I was also unhappy with the casting of the histrionic Leonardo DiCaprio in the title role. I'd watched this overrated actor bluster through several promising literary movies already: Basketball Diaries, Total Eclipse, Gangs of New York, Revolutionary Road. I knew he only had six facial expressions, and I was sick of them all. I was ready to start hating the movie, as the lights in the theater went out.
E. L. Konigsburg, author of From the Mixed-up Files of Mrs. Basil E. Frankweiler, has died at the age of 83. This book had the best concept of pretty much any children's novel I remember ever reading: two spirited tweens (12-year-old Claudia and 9-year-old Jamie) decide to run away from their boring posh suburban home and hide out in the Metropolitan Museum of Art in New York City. The fascination for readers was to plot with Claudia and Jamie how to pull it off -- hiding in restroom stalls, bathing in the fountain in the middle of the night, having snappy answers ready for inquisitive security guards. Eventually they uncover a secret about a statue that may or may not be a Michelangelo, and meet the elderly art patron of the title.
Despite the enormous impact of the Watergate scandal, the actual purpose of the break-in of the Democratic National Committee offices has never been conclusively established.
-- Wikipedia, The Watergate Scandal.
I was thinking about this long-mysterious motive after reading Thomas Mallon's subtle, well-imagined historical novel Watergate, which speculates (among other things) that the purpose of the illegal spy operation in June 1972 that eventually brought down Richard Nixon's presidency was to find evidence of a Fidel Castro/Cuban connection to the Democratic party. This is one of several common explanations for the spy operation.
Another one, suggested by Bob Haldeman and tentatively endorsed by Jeb Magruder, is that Nixon wanted to find evidence that the reclusive millionaire Howard Hughes was secretly funding the Democrats. Others have suggested that Nixon wanted dirt on Ted Kennedy, and a recent book called Watergate: The Hidden History: Nixon, The Mafia, and The CIA by Lamar Waldron tries to build a case for a Mafia connection. Still others have guessed that the whole botched operation was a trap by Nixon's opponents, intended to embarrass the President (if this was the case, the trap was an amazing success).
I don't think that any of the above answers are very good, and I have a better one to suggest. The motive for the Watergate break-in is something primal, dreadfully familiar, awkwardly obvious. The answer is there in plain sight -- and it's also certainly there in the memoirs written by the principal Watergate criminals, particularly Blind Ambition by John Dean, An American Life: One Man's Road to Watergate by Jeb Magruder, The Ends of Power by Bob Haldeman, Witness to Power: The Nixon Years by John Ehrlichman, Will by G. Gordon Liddy and Born Again by Chuck Colson, all of which I've carefully read and reread to help me reach the conclusion I'm about to explain.
Watergate is not a very distinctive title for a novel about the 1972-74 USA presidential scandal by Thomas Mallon. It was, however, a great name for the scandal.
The term "Watergate" originally referred to the office-hotel complex in downtown Washington DC where, on a quiet day in June 1972, a gang of hapless spies with indirect connections to the Nixon White House were caught in a botched bugging operation. The name "Watergate" always felt right for the scandal, even though it's a made-up word, the invention of a real estate corporation. The "water" refers to the Potomac River and Rock Creek, which merge at the complex's northwestern edge, and the "gate" does not seem to refer to any specific thing at all. (UPDATE: see comments below for some helpful information that suggests the name referred to a water-gate at the nearby historic canal.)
But the Watergate complex was a cool, exciting new locale in 1972, a swirling, innovative work of postmodern architecture that belongs to the same era of urban design as New York City's World Trade Center. The image of water crashing through a barrier seems to evoke something meaningful about the entire scandal that was born there.
It's not clear what Thomas Mallon was aiming for when he gave his imaginative novel the flat title Watergate. There are already many books called Watergate, and this one is different because it's a sensitive, smart literary historical novel, a work of creative invention. Fortunately, the title is the only thing about this clever, humane book that doesn't work. I thoroughly enjoyed reading it, and it helped me think about the years of Nixon's fall in a few new ways.
A tweet from @sarahw alerted me to the news that The Other, Thomas Tyron's fetching 1971 thriller about a good twin named Niles and a bad twin named Holland has been rediscovered and republished by the New York Review of Books with a new introduction by Dan Chaon.
Tyron's book is a rewarding read ... but I couldn't help noticing the marked difference in book cover styles represented by the original paperback cover that I remember so well and the new NYRB version. Strangely, even though I see that the new cover (above, right) attempts to be more artful and evocative than the old (above, left), it actually feels less effective and more conventional. Or are my fond memories of an old favorite book clouding my mind? Have book cover designs gotten better or worse since the 1970s? Good twin, bad twin, good cover, bad cover ...
I don't know much about the noir genre, but I checked out a new graphic novel called Dark Heat by Barry Graham and Vince Larue because I like Vince's beat-inspired writing and artwork, which often emphasizes themes from Michael McClure and Gary Snyder. Vince Larue also drew a very cool cover for my 2011 Kindle book about poker, The Cards I'm Playing: Poker and Postmodern Literature.
It's a strange leap that Larue makes from Snyder-inspired Zen Buddhism to macabre mystery comix, but Dark Heat shows many familiar influences, and also touches upon psychological and spiritual themes that remind me of The Sopranos, Psycho, Paul Auster, The Watchmen, Fletch, Taoism and a whole lot of good movies that have Steve Buscemi and/or Viggo Mortensen in them. This story begins in gritty realism, and ends with a postmodern exploration into what's real and what's not. For your noir pleasure: Dark Heat by Barry Graham and Vince Larue.