D. G. Myers, a celebrated literary critic, professor and blogger, died quietly of cancer in late September. For many like me who only knew D. G. Myers through his writings and online presence, his death was no surprise. We had read about it on A Commonplace Blog or in Time magazine, or in his much-praised podcast for the Library of Economics and Liberty just a few months before he died.
As his cancer worsened, D. G. Myers also expressed his feelings in occasional bursts on his beautiful Twitter account. Always a writer first, his tweets were unfailingly elegant, measured and dignified. Even when he could only manage bitter humor and wry regret for his family's shared suffering as he tweeted his way through chemotherapy during his last weeks on Earth:
(I didn't make it to the Brooklyn Book Festival this year, but Tara Olmsted did, and here's her report! -- Levi)
The Brooklyn Book Festival can be a mixed bag. At its worst the annual autumn event is complete chaos: no consistent theme, hot and crowded rooms, poorly moderated panels, no-show authors, smug hipsters as far as the eye can see. This year's list of participating authors is less exciting at the outset than in previous years: the type of book being discussed on all the panels feels pretty much the same, as if some kind of homeostasis has been achieved.
But at its best, the Brooklyn Book Festival s a platform for small, independent presses. Publishers like Melville House, New Directions, & Other Stories, Europa, Other Press, Archipelago and Greywolf are there. (Technically some of these are not exactly indie publishers anymore, like New Directions, which has been absorbed by the big five publishing conglomerates. I still consider the presses “indie” because they’ve managed to retain the literary identity and traditions on which they were founded.)
Smaller indies are here too: Zephyr, Bellevue, The Head & The Hand. There are literary magazines: BookForum, The Paris Review, NYRB and Lapham’s Quarterly. And many of Brooklyn’s independent bookstores attend, including WORD, The Community Bookstore and Greenlight. There’s a lot to discover at the outdoor booths. And for me the highlight of the festival has always been (and remains) the author panels.
Don Carpenter was a writer’s writer. Born in Berkeley, California in 1931, he grew up there and in Portland, Oregon, served in the Air Force during the Korean War, and returned to earn a B.S. from Portland State and an M.A. in creative writing from San Francisco State. In 1966 his first novel Hard Rain Falling was published to critical acclaim, and for the rest of his life he was a professional writer. He lived in Mill Valley, California and was part of a group of writers—Evan Connell, Curt Gentry, Leonard Gardner, Gina Berriault and others—who met regularly at the Book Depot there, and at the no name bar in Sausalito.
Carpenter was never as successful or celebrated as his good friend Richard Brautigan. His novels and short story collections were praised by critics and fellow writers but did not sell well. He found work in Hollywood as a screenwriter, most notably for an unproduced screenplay of Charles Bukowski’s Post Office, and for Payday, starring Rip Torn as a country music singer. His novel about show business, A Couple of Comedians, was praised by Norman Mailer as “the best novel I’ve ever read about contemporary show biz.” Anne Lamott dedicated her 1994 book Bird by Bird to Carpenter, and praised his then work in progress Fridays at Enrico’s as a masterpiece in the making.
(Literary Kicks is twenty years old today. This fact has left me speechless, so I asked Jamelah Earle to send some retrospective thoughts. -- Levi)
When I was 16, I was on my high school forensics team. This was not in any way related to anything you might see on an episode of CSI, but instead was competitive speech and dramatic performance. That year, I had chosen poetry as my event, and I was looking for a poem to perform. The trick with forensics events, I had learned in a previous season, when I did storytelling with Alexander and the Terrible, Horrible, No Good, Very Bad Day, was to come up with something that nobody else would be performing — Alexander was a popular piece, and more than one time I would be in a competition round with another person doing the same story. So, when I switched to poetry, I was determined to come up with something nobody else would do.
My coach gave me a copy of Allen Ginsberg's Howl and Other Poems to see if anything in it would work for me. I eventually ended up choosing the poem "America" and I had a great season. I think I would've made it to the state championships that year, had I not gotten laryngitis so severely that I was rendered essentially mute during regionals. Alas, I'll never know, so I can just imagine that I would've gone all the way. Maybe I could have even won the chance to tell my hometown newspaper how to spell "Allen Ginsberg".
Sure, every other obituary of 86-year-old Brooklyn novelist Daniel Keyes is going to talk about Flowers for Algernon. And, yeah, that was his best book. But I'm going to talk about The Touch, simply because I remember this novel well, and because nobody else is going to mention it.
As a lonely middle school kid, I was so desperate for good books that I would bottom-feed the local library stacks, looking for off-hit books by writers who were (I could already tell at my young age) literary one-hit wonders. This is why during the waning years of the Summer of Love and the waxing years of the Me Decade I read Love, Roger by Charles Webb (author of The Graduate), David Meyer is a Mother by Gail Parent (author of Sheila Levine), This Perfect Day by Ira Levin (Rosemary's Baby). And it's why I read The Touch by Daniel Keyes, author of the powerful Flowers for Algernon. I suppose I was also attracted to The Touch by the mod cover design, which reveals Daniel Keyes trying to reach a hip adult literary audience. That never quite happened, but we'll always have Flowers for Algernon.
Two children's books I loved as a kid (and still love as an adult) have been republished in attractive new editions. Whether you've read these two books before or not, they are awesome and well worth checking out.
Funny thing, a trollish article titled "Against YA: Adults Should Be Embarrassed to Read Children's Books" by a person named Ruth Graham was recently published on Slate -- an obvious attempt at clickbait, and clearly the work of a bullying personality similar to that of the mean kid who kept throwing eucalyptus seeds at Mitch and Amy in Beverly Cleary's Mitch and Amy. (But that's another story.) Am I embarrassed to be remembering children's books? Hell no. These are two of the best books I've ever read.
One Hundred Years of Solitude must be Gabriel Garcia Marquez's best title, and it's the book that made him famous all over the world. But I somehow neglected to finish that epic novel, and was more attracted instead to Love in the Time of Cholera, a book so good it would probably have made the Colombian author famous again if he hadn't been already. I also enjoyed Marquez's The General in His Labyrinth, and I wonder if I specially favor these two novels because they both employ a vivid setting: Colombia's Magdalena River.
I'm a fool for riparian literature, perhaps because rivers hold such great spiritual significance (from the Jordan to the Ganges), or because they work so well as metaphor, whether the characters are lazily floating downstream like Huck Finn or tensely steaming up against the current like Marlow in Joseph Conrad's Heart of Darkness. My fascination with rivers makes Love in the Time of Cholera a natural for me, since this novel is basically a happy Heart of Darkness with senior sex. The ever patient Florentino Ariza has waited an entire lifetime to lie in the arms of his beloved Fermina Daza, and after many decades he finally outlasts her husband and scores with her on a boat heading up the mighty Magdalena. (Ariza's patience is his one great power, a character trait so distinct it earned him a seat in my hypothetical literary poker tournament a few years ago).
The river is a constant presence in this novel. Early in the story, Ariza escapes his heartbreak by travelling up the river, where the beauty that surrounds him is disturbed by visions of the cholera epidemic currently gripping the land:
Sometimes I find it hard to believe that my blog is almost twenty years old. Well, sometimes I also find it hard to believe that my youngest daughter is almost twenty years old. (They were born the same year, and they both grew up so fast.)
Literary Kicks will turn twenty on July 23, 2014. I have no idea how I'm going to celebrate, but I might keep it low key. For the 5th birthday in 1999, I threw a big party at the Bitter End nightclub in Greenwich Village. For the 10th birthday in 2004, I hosted an all-night online poetry jam with Caryn and Jamelah during which I remember falling asleep at least once. For the 20th, I might just stay home and feed the cats.
A literary biography ought to possess a voice and attitude that reflects and complements the literary voice and attitude of its subject. Leon Edel's life of Henry James is prim and probing, with an energy that gradually accumulates into stately magnificence. Gerald Nicosia's biography of Jack Kerouac is passionate, melancholy and fitful. This is how it should be, but this implicit rule must have been daunting to Adam Begley when he began writing Updike, the first comprehensive biography of the great fiction writer and critic John Updike, who died in 2009.
John Updike was, after all, one of the most confident and erudite prose stylists of his era, and an immensely likable writer. Fortunately, Adam Begley rises to the challenge in this enjoyable and perceptive biography, and while Begley doesn't attempt sentences of Updikian beauty and complexity, he does follow the master's lead in conjuring buoyant revelations from ordinary situations. Like a good Updike novel, this book captures the richness of one person's well-lived life.
I recently heard about a British Library project to reassemble and digitize a 17th century illustrated edition of the Ramayana, a classical Hindu epic. This sounds pretty cool, and it reminded me of a different edition of the Ramayana that I once owned myself.
This was just a cheap pocket paperback, a novelization of the great poem, published alongside a similar edition of the other great Hindu epic, the Mahabharata. These two books, the life work of a young American translator named William Buck, were designed to be accessible and enjoyable versions of their extremely long and complex originals. Of course the great epic poems had to be condensed and simplified to fit into these forms, but the popular paperbacks provide a rich reading experience that must capture at least some of the significance of their gigantic counterparts.
William Buck's Mahabharata is the one I read all the way through and remember most vividly, because it's a colorful, wise and beautiful long tale that begins with the household altercation that resulted in an elephant head being placed on the body of a boy named Ganesha, the son of Shiva, who is noted (in the story that surrounds the story) as the scribe who is writing the text: