On Neil Genzlinger's "The Problem With Memoirs," a Witty Look at Bogus Memoirs in NY Times, or a Book Review With Balls, plus a ShoutOut to Karen Russell's "Swamplandia!"

I haven’t been blogging much lately because I’m caught in a vortex of Academic Hell, coping with various problems brought on by our sickly economy, and here’s to hoping it will end soon: the bad economy, that is. Academic Hell is generally a netherworld of neuroses and anxiety—the flames are usually papier mache, and the ragged clothing includes crewneck sweaters. But I just read a great piece that is worth sharing, Neil Genzlinger’s “The Problem With Memoirs,” here in the NY Times:

Here’s a paragraph: “That you had parents and a childhood does not of itself qualify you to write a memoir. This maxim, which was inspired by an unrewarding few hours with “Disaster Preparedness,” by Heather Havrilesky, is really a response to a broader problem, a sort of grade inflation for life experiences. A vast majority of people used to live lives that would draw a C or a D if grades were being passed out — not that they were bad lives, just bland. Now, though, practically all of us have somehow gotten the idea that we are B+ or A material; it’s the “if it happened to me, it must be interesting” fallacy.”
Why I like it so much: The world of book reviewing creates parameters that generally dissuade the writer from negative reviews, even if those are sometimes the most insightful (and funny). Many years ago I reviewed for the NY Times until I wrote a negative review of a rather overstuffed novel, and that was it. That’s how the censorship goes. They pull the plug on you. (Genzlinger is an editor there, so he has greater leeway.) What I do now, instead of blasting a bad book, is refuse to review it. But that negates the nasty fun. I can live with it, of course. Karma and all that. But still, the only reviewer I light up at seeing his name in the NY Times tends to be Joe Queenan, who gets to say nasty, funny things, but often about old books, instead of the new. From my sometimes insider look at memoirs, I think Genzlinger is right. I know of a memoir out right now by a person I know (I won’t name names) that I think is pretty much 90% b.s. But you wouldn’t know that from the jacket copy. It’s about a dysfunctional family. A story we all love, right?
Right now I’m reviewing Karen Russell’s new novel, Swamplandia! and am glad to report it’s a fun read, about a smalltime alligator themepark in Florida. And it’s blessedly not a bad memoir.
Continue reading

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"My Father's Guns," an essay remembered in response to the Tucson Shooting

Tim Egan had another good piece in the NY Times about the Tucson shooting and the gun control debate, here:

He mentions his family as gun owners and users. I have a similar history, though with more tragedy than I hope Tim Egan had to deal with. I published the following essay years ago, and think that it’s as relevant now as it was then. It’s titled “My Father’s Guns,” and appeared in the Houston Chronicle.
My Father’s Guns
My father died when I was too young to know how it happened, but I always believed that he died in his sleep. This was a disturbing thought when I was six and seven years old, especially at night, lying in the bunk bed below my older brother, because I had insomnia and chronic nightmares and, lying there in the spooky darkness, with the handlike shadows of the fig tree leaves waving at me through the window, I often wondered if I too could die in my sleep. If my father did it, why not me? It seemed like a peaceful way to go, like slipping your head into the warm water of the bathtub, but even if I considered entering it peacefully, eternal nothingness gave me the willies.
I vaguely remember my mother telling me, “One day, your father just didn’t wake up.”
We had a space heater in our room, and mother always told us to turn it off before we went to sleep, or the blue flames might burn off all the oxygen in the room.
“You wouldn’t want to wake up dead, would you?” she asked. Like papa?
We never talked about my father when I was growing up, and the only souvenirs we had of his existence were a double-barrel .410 shotgun, a .30-.30 rifle, and the disembodied bill of a sawfish he had caught off Galveston Island in 1949. The sawfish bill was a pale yellow, bony snout about three feet long, with a vicious row of teeth on either side. I was fascinated by this bill, by the yellowish teeth, thrilled that such an absurd creature could possibly exist. We kept it in the back of the closet of the boys’ bedroom, where my brother and I slept, and I took it out to look at it and play with it so often that some of the teeth fell out. By the time I was ten or eleven, it resembled a monstrous broken comb.
My brother was more fascinated by the guns, and he used to take me hunting in the woods around our house near the outskirts of San Antonio. As great white hunters, our routine was to walk slowly through the oak and juniper thickets, as quietly as possible, trying to sneak up on something and kill it. Once my brother shot a cottontail, and as we stood over it in the gray autumn air, blood sprayed on the brown grass beside it, it seemed to stare up in our eyes with a what-did-I-ever-do-to-you look. Mainly, though, all we shot were cactus, broad green blades of prickly pear. They were easy to kill. They couldn’t run away. You could walk right up to them and say, “I’m gonna kill you, plant!” And blast away. Nobody sympathizes with plants, not even vegetarians. You have to sing or moo for our compassion. Fur helps too. Or warm blood. Look at fish. Who defends the mackerel? The herring? The sawfish?
Tommy, being seven years older than I, inherited my father’s guns. This was fine with me at the time, because I knew I would never make it as a hunter. Once, in the Big Hole Valley in Montana, I shot at ground hogs in the fields with a .30-.30. I felt like a prairie hit man, sent from Detroit with a contract on the Marmota monax family. The pickup truck was parked on a dirt road, and we leaned against the hot hood for support. I purposely missed. My friend also had a gun, and I kept thinking that any minute he was going to shoot me. This was an irrational but persistent feeling. Maybe it was because I kept thinking about shooting him. Just a crazy thought, I know, but one that comes now and then. To prove my courage, I kept turning my back to him, whenever I had to reload. I squinted in the direction of the mountains and said, “I think I smell elk.”
Guns are always going off when you’re not expecting it, as if they have a mean streak of their own. I knew a Texas Ranger who had to carry his gun at all times, in case he needed to shoot first and ask questions later. He was fishing in a skiff in Aransas Bay when his .45 fell out of his holster, went off, and shot him in the face. The bullet went in below his jaw and out his cheek; he lost an eye and afterward wore a black patch. He was skinny, six-foot-six, had white grizzled hair, and wore stove-pipe Levis. With the black patch, he took on an almost legendary quality, and he continued to come into my family’s restaurant after the accident. He would place the gun on the table, in front of him, as he ate his chicken fried steak. He seemed almost inverted by the accident, somehow made bad, almost an outlaw. For some odd reason we laughed and joked a lot whenever he was there eating, and the merriment seemed forced, nervous, as if he had yelled at everyone “Dance!” and pointed his gun.
It wasn’t until I was seventeen that my sister Judy set me straight about my father’s death. “Boy, you’ll believe anything,” she said, when I somehow mentioned his dying in his sleep.
She told me he had blown his head off with a shotgun. Although that seems such an ugly way to put it, that’s how I remember it. And maybe that’s the best way to state something so catastrophic. Bluntly.
I later wondered if he had used that same double-barrel .410 that we used to hunt cactus with. Would my mother have let us use that gun? And even if it wasn’t the same gun, why did she let a nine- and a sixteen-year-old wander around the woods alone, playing Lee Harvey Oswald? (She always told us to take the spoon out of our iced tea glasses when we were drinking, because we might put our eyes out. But don’t forget your ammo!)
I remember those guns, how heavy and hard they were, how they hung from the walnut gun rack in our room, with a fishing rod on the top rack, the red and white bobber still clipped to the monofilament line, the treble hook stuck in the cork of the handle, how the guns smelled of oil, the serious click of the broken breach. Whose lives were we going to defend with those guns? Whose lives were we going to take? To end?
These thoughts disturb me now more than ever, replacing the fear of dying in my sleep I was once so naively obsessed with, because a few years ago my brother also used a shotgun to kill himself.
Of the three males in my family, two have now killed themselves with shotguns.
I don’t want to be the next.
I wonder if Tommy used the same gun he inherited from my father? But it’s not a question that’s easy to ask, not a question you perhaps want an answer for. The gun has not been passed on to me and has left the hands of the family, probably now stacked in a row of rifles in a San Antonio pawn shop, waiting for a family quarrel, waiting for a little disagreement among friends, waiting for action. I have no souvenirs left to remind me of my father’s life, not even the yellowish snout of the sawfish, lost years ago in a move from one house to the next.
The only souvenir of my father I own now is a handful of photographs taken of him after World War Two, when he’s young and smiling and his eyes are as blue as my own.

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Sarah Palin Anthem: Sad or Funny?

A friend of mine (Thanks, Morris!) sent me this link, and I can’t decide whether it’s funny, or just sad. You decide.
http://www.buzzfeed.com/ashleybaccam/sarah-palin-battle-hymn

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The Classic Library v. Kindle Disposability of eBooks

Over the holidays something struck me (as all wrong) about the rise of ebooks and “Kindle editions”: In Colorado I have a kind of classic library, not a zillion crappy paperbacks, but a good number (around a thousand, I would guess) of (hardbacks, mostly) top-quality titles, with a smattering of the Quirky. With the hardbacks, each has a history and a provenance of its own: a first-edition Lolita (1955), with the reference to the Olympia Press edition permission in the fly leaf (Nabokov had a serious row with the French publisher of the Olympia Press edition, which was its first appearance in print, before wrestling away the rights to publish it in a mainstream press in the U.S.), a first edition of Richard Wright’s Black Boy (1945), with dust jacket, bought for 25 cents at a garage sale in Colorado, complete with a plea to buy War Bonds in the fly leaf; a first-edition of Hemingway’s For Whom the Bell Tolls (1940) and a first-edition of William Faulkner’s Sanctuary (1931), with his funny, odd foreword. Plus a great collection of Richard Brautigan’s books and hardback climbing sagas, including a first-edition of Maurice Herzog’s Annapurna (1951), with slightly torn dust jacket, which tells of the first ascent of an 8,000 meter peak in 1950, and is still one of the greatest climbing books ever written.

Compare that history/complexity with what happens when you download all to a Kindle: No dust jacket, no different font, no history at all. If the power dies, so do your books. A Kindle ad could proclaim, “It’s not a book, it’s a library.” This is true. But you’d have to add to that, “It’s a disposable library.” Or dubious. I’m using my Kindle, but mainly for convenience. I checked a Macbeth reference with it this morning (Act V, v: “out, out, brief candle”), using the Search function. And I’m reading the Old Testament on it, when I’m in that ole biblical mood. But overall, it’s a forgotten stepchild library, the one whining in the corner.

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A Star Is Corn: "Country Strong" & the Gwyneth Paltrow Gagfest

There needs to be some complicated noun (perhaps the Urban Dictionary can get on this, better than “hiberdating” or “internet coma”) to express the rather long-winded “feeling of revulsion when seeing overexposed celebrities in internet-news headlines that you’ve just become sick and tired of because you’ve seen their names once too often.” See what I mean? Into that category would be the (easy, sad) Lindsey Lohan, (awful, repulsive) Sarah Palin, and now (cloying, smug) Gwyneth Paltrow has a country western movie, Country Strong, yeehaw! I even like C&W music, the best kind, like Johnny Cash, Hank Williams, and Willie Nelson. (Not to mention the terrific song, “The Happiest Girl in the Whole U.S.A.,” which David Bryne used in the best Big Love episode ever.) But a whole film about a c&w star just out of rehab, with a plot that reads like a mutant hybrid of All About Eve and A Star Is Born? Oh, what the heck. I’ll watch it when it comes to satellite, just to hear the bad lines of hokey dialogue.

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Prisons, Poverty, & Pickups: The Other West

So I’ve just driven 1720 miles from Colorado to Pennsylvania . . .

. . .  and the contrast between Western and Eastern U.S. is on my mind. One thing I notice is the discrepancy between the media myth of the West and the reality. When outsiders think of Colorado they (often, usually) think Aspen glitz, the playground of the rich, while most of southern Colorado seems noticeably poor yet hardly downtrodden. People make less money there, but they love the landscape, they love the hardbitten lifestyle. We were in Florence, Colorado, known for its tumbleweeds and vacant lots, piles of cinder blocks in the yard, trailers in various states of disrepair, when my wife jokingly said, “That’s what I like about Colorado. You know, the junk and the poverty.” She compared it nicely to the antiseptic consumer-whore atmosphere of suburban St. Louis, where we visit relatives to and from Colorado. Florence is also famous for its Supermax prison, which we drive by every time we visit, the highway signs warning us not to pick up hitchhikers. And virtually every other vehicle (besides the Subarus, which we drive) is a pickup. Welcome to the Other West. Real America for Real Americans, to play on the new Onion News Network catchphrase.
And here’s a photo of my beloved Custer County, east of my mountain house, out on the prairie:

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Deer & Coyotes in the New Year

I’ve had deer and coyotes in my yard at the start of this new year, so something must be right with the world. I double-checked and corroborated that the mountain scenes in True Grit were filmed near Santa Fe, which is the southern end of the Sangre de Cristos, what I rank as my mountains. The deer and coyotes all look healthy. It was 5 degrees when I took this picture:

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"True Grit" in the True West

So last night I saw the Coen Brothers’ True Grit in the mountain town of Canon City, Colorado, which was at one point in the 1880s the stagecoach stop east of Bighorn Canyon. A Western in a town of the New (Old) West. Jeff Bridges outdoes John Wayne easily, as the crusty Rooster Cogburn, his voice extra-gravelly and rough, saying lines like, “I don’t believe in fairy tales nor sermons about money, Baby Sister, but I do appreciate the cigarette.” The actress who plays Maddie Ross steals the show. Like Miller’s Crossing, which pays homage to other gangster and film noir directors/writers, True Grit seems to allude to other great westerns, especially Jim Jarmusch’s Dead Man and Cat Ballou—which, by the way, was filmed in Custer County, Colorado, where I am now. I liked the courtroom scene in particular, and the moment when Maddie Ross jumps into the river and swims it on her horse is thrilling. I still like A Serious Man better, but I’m sure I’ll watch True Grit over and over again.
It was dusk when we left the theater and we headed west toward home, into a sunset silhouetting the Sangre de Cristo mountains, and it was like we were headed into True Grit country, armed only with a halfbag full of popcorn and the black bones of Junior Mints rattling around in a waxy white paper box.

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Peter Benchley's "Jaws," the Novel, as Toothsome Holiday Reading

One thing good about the holidays, and about being away from home and routine, is Weird Reading. I have a first edition hardback of Peter Benchley’s “Jaws” (1973) on my bookshelf in Colorado, and picked it up to pass the time while watching it not snow again. It’s actually pretty good. “Toothsome” I think is the word. I read it years ago when it came out, but I didn’t remember that in the novel, the couple actually has Sex On the Beach before she gets chomped while swimming afterward. The sentence that describes it is almost an entry for that Bad Literary Sex Award, the one for which John Updike was a perennial favorite: “They fumbled with each other’s clothing, twined limbs around limbs, and thrashed with urgent ardor on the cold sand” (10). Note the obvious parallels to the woman’s death in the maw of the Great White and her thrashing with weekend hookup stranger (this is revealed in subsequent paragraphs). The ending is lifted straight out of Melville’s Moby Dick, but it’s grisly fun.

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Review of The New Yorker's "20 Under 40" Anthology, and a Nod to Holiday Pleasures, of the Guilty Variety

I’m on holiday vacation, offline for the most part, doing all those things one does on holiday, like witness TV programs I generally wouldn’t be caught dead watching, such as anything involving “. . . With the Stars!” in the title. Like “Skating With the Stars.” They’re upping the ante, aren’t they? But let’s take it one step further: What about “Brain Surgery With the Stars”? Let’s get Lindsay Lohan on that one.
My review of the New Yorker’s “20 Under 40” anthology is here in the Dallas Morning News:
http://www.dallasnews.com/sharedcontent/dws/ent/books/stories/DN-bk_20under40_1219gd.ART.State.Edition1.436f4c2.html

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