Sunday, November 3, 2013
Just a short note to let our loyal readers know that the Flyleaf Blog has effectively migrated to Tumblr: http://flyleafbooks.tumblr.com/. We may still post on this site occasionally, but if you're looking for witty book-related musings provided by myself and our other staff contributors, Tumblr is now your best bet.
Saturday, October 19, 2013
|ISBN-10: 0062065254 ISBN-13: 9780062065254 Published: Harper Perennial, 05/01/2013 Pages: 336 Language: English Ingram Discount Code: REG|
The value of reading in intellectual development is both common sense and scientifically proven fact-- however, this study's focus on "emotional intelligence" sets it apart. As the New York Times put it, the findings "suggested a direct effect — quantifiable by measuring how many right and wrong answers people got on the tests — from reading literature for only a few minutes" and "experts said the results implied that people could be primed for social skills like empathy, just as watching a clip from a sad movie can make one feel more emotional." Furthermore, by comparing the effects of different genres of fiction and nonfiction separately, the study suggests that certain kinds of books might be more valuable in producing empathy than others, possibly having implications for school curriculums: "The study’s authors and other academic psychologists said such findings should be considered by educators designing curriculums, particularly the Common Core standards adopted by most states, which assign students more nonfiction."
I buy most of this--to an extent. In one of my favorite books, An Anatomy of Melancholy, frequent mention is made of harsh tyrants who could only be moved by a play or a poem (there's a particular example the author references, I think from Greek tragedy, which is escaping me at the moment). The idea that art is sometimes more effective at creating empathy than real life is one more sad irony we've come to accept. It doesn't seem like much of a stretch to suggest that one could take emotional lessons learned from a master such as Alice Munro--she won that Nobel Prize for a reason, people-- and apply them to real life.
Naturally, I have my doubts about the methodology of the study and blah blah blah-- for now, it's just nice to think about. Ultimately, I share Louis Erdrich's opinion, as expressed in a quote that concludes the article: “Writers are often lonely obsessives, especially the literary ones. It’s nice to be told what we write is of social value,” she said. “However, I would still write even if novels were useless.”
Tuesday, October 15, 2013
|ISBN-10: 0316205850 ISBN-13: 9780316205856 Published: Little, Brown and Company, 09/03/2013 Pages: 176 Language: English|
The Rashomon comparison hinted at in the title is a useful way to consider Woodrell's novel. Like Akira Kurosawa's landmark film, The Maid's Version concerns a central tragedy-- in this case, a dance hall fire-- and how it was perceived by a number of different witnesses. Naturally, each witnesses' point of view is skewed by the complicated web of prejudices and associations that spreads naturally in any small town. The rumor and gossip mills work overtime to produce contradicting theories about the perpetrators, sparking a great deal of collateral damage and undeserved witch hunts. However, unlike in Rashomon, there does seem to be a "true" version of the events, which we gradually close in on as the novel progresses.
The Maid's Version is vastly ambitious in its complicated, inter-generational structure and thematically-laden, gorgeous prose. It's to Woodrell's great credit that he pulls it all off without wasting a single sentence-- The Maid's Version is barely longer than a novella. Really, you can't give enough credit to his writing. For example, Woodrell is able to slip in and out of various voices without disrupting the flow of the story. I was frequently reminded of Faulkner's famous short story "A Rose for Emily," in which he is able to illuminate the individual gossiping people of his made-up small town as well as the group-think, the collective "we" and "they" that result from such a claustrophobic society. Take this passage from Faulkner's story:
"So the next day we all said, 'She will kill herself'; and we said it would be the best thing. When she had first begun to be seen with Homer Barron, we had said, 'She will marry him.' Then we said, 'She will persuade him yet,' because Homer himself had remarked--he liked men, and it was known that he drank with the younger men in the Elks' Club--that he was not a marrying man. Later we said, 'Poor Emily' behind the jalousies as they passed on Sunday afternoon in the glittering buggy, Miss Emily with her head high and Homer Barron with his hat cocked and a cigar in his teeth, reins and whip in a yellow glove."
Compare it to this passage from The Maid's Version:
"And there were the accusations and denunciations also delivered in clusters surrounding the anniversary date: Chuck always has liked fire too much to be left alone anyplace with matches but might have been on that day,-- I don't got any way to know for a fact, I was at Jam Up Cave, myself, that night, but his eyes sure get wide seeing flames. Or: She and him had been stealing from the factory payroll, I'm pretty sure of that, since they had patent-leather shoes a little too rich and shiny for East Side, don't you know, and ate hunks of beef meat when we had greens and fatback, so they likely did the bombing to throw attention away from their own wrongs until they could leave for California with the loot, which they did within a week or so. Or: My husband has been odd since maybe a week before then..."
And so on. Woodrell's style is more fluid, almost experimental or stream-of-consciousness in a way that recalls As I Lay Dying or even Mrs. Dalloway. Trying to identify all of Woodrell's potential influences is cat-nip for an English major like me, but for anyone simply looking for a great book, I couldn't recommend The Maid's Version more highly. The Maid's Version is simultaneously steeped in the past and engagingly post-modern (just like Rashomon!) without burying emotional depth beneath its technical sophistication. And, unlike me, apparently, Woodrell is committed to the ideal held in highest esteem by busy readers with an enormous stack of books threatening to crush their bedside table-- brevity.
Wednesday, October 9, 2013
|ISBN-10: 1455526304 ISBN-13: 9781455526307 Published: Grand Central Publishing, 09/10/2013 Pages: 288 Language: English|
Person B: Of course! Where have you been, my straw-man interrogator? Recently, the popularity of social media, comedy podcasts such as WTF with Marc Maron, and alternative comics such as Louis CK, Tig Notaro, and Maria Bamford has had more people obsessing over comedy than ever before. The comedy nerd is ascendant!!!
Person A: Okay, okay. Ease up on the exclamation marks.
Person B: Sorry... I get excited.
Person A: So what's this book thingy all about?
Person B: Oh, yeah. Well, the title kind of says it all: Hollywood Said No!: Orphaned Film Scripts, Bastard Scenes, and Abandoned Darlings from the Creators of Mr. Show.
Person A: Gee whiz, that's a mouthful! What's Mr. Show?
Person B: It was a brilliant and highly influential sketch comedy program on HBO in the nineties. If you've ever seen Monty Python's Flying Circus, Mr. Show is a clear descendant. Co-creators and co-stars David Cross and Bob Odenkirk (now of Better Call Saul! fame) gleefully mixed the high concept and the low, sending up American culture with biting satire while also making room for spectacular amounts of silliness.
Person A: Sounds neat, but why would I want to read a bunch of passed-over film scripts?
Person B: Besides being gut-bustingly hysterical, the film scripts and attendant notes give new insight into the creative process and how it rubs up against the out-of-touch Hollywood establishment. If you're wondering why the blockbuster landscape has been so loud and samey of late, this book might provide a few clues. Plus, there are some nice extras like interviews, storyboards, illustrations, and a few abandoned sketches. For comedy nerds, it's a must-have.
Person A: What about us Average Joes?
Person B: Mr. Show does have a niche, counter-culture sensibility that will not appeal to everyone equally. Still, funny is funny, and tautologies are tautologies. Just buy it.
Monday, October 7, 2013
Three shiny books, because that seemed like enough to warrant a picstitch! Or, at the very least, they’re a nice shiny tonic to ward off this dreary, rainy day.
Featured: Marisha Pessl’s Night Film, Laszlo Krasznahorkai’s Seiobo There Below, and Tao Lin’s Taipei.
While we’re on the subject of these beautiful books, it seems worth mentioning that there’s been a lot of speculation about how print books will fare in a world of internet titans. Robin Sloan did a reading here last week, and one of the most interesting facets of his talk was his discussion of ebooks’ role in making print books better: namely, that designers and marketing professionals will have to level up when it comes to designing covetable physical objects. In all honesty, that’s a trend we’re ok with, because it produces things like these volumes. There’s something tactile and special about a book with shiny, glittering font or, in Sloan’s case, the glow-in-the-dark books on Mr. Penumbra’s 24 Hour Bookstore's cover. Hoping this prophecy keeps book in print, and bookstores in business.
Posted by Linnie at 12:09 PM
Saturday, October 5, 2013
Published: Tor Books, 09/24/2013
Unlike most secret orders found in books or other media, the Incrementalists stay true to their name by trying to make the world a little better at a time-- the relatively narrow focus of their ambitions is actually one of the most interesting parts of the book's premise. Another interesting aspect: the Incrementalists have no real hierarchy, and opinions as to what constitutes "better" vary widely among the group. This lends an essential philosophical underpinning to the novel, which quickly becomes embroiled in heady arguments and brain-splitting flights of fancy (there's a whole 'nother thing involving a garden made out of memories that I can't even get into). Somehow, this didacticism avoids becoming pretentious or irritating-- no mean feat, trust me. If you're looking for a thrill-ride through a fantastical Las Vegas, you won't find it here. The Incrementalists is much more concerned with ideas than car chases, and if you approach the novel as thoughtfully as it is constructed, the result is much more intriguing. Don't check your brain at the door, in other words, but do buy this book.
Thursday, October 3, 2013
|All of this internet work was almost as fun as playing with a little kitten, but not quite as entertaining as observing a kitten with expert computer skills.|
If you'd like to validate the hours/minutes that have gone into retweeting, Instagramming, Tumblring, and the like, check out the following links, and add them to your bookmarks or what have you:
- Tumblr: Original content, plus lots of cool things culled from around the web.
- Pinterest: Quick & to-the-point posts about things we like and what we're reading.
- Facebook: The original internet presence, in which we divulge just about everything.
- Twitter: Concision (which is hard, for booksellers & writers).
That does it for today. Thanks for helping us spread the word -- or words, as the case may be.
Posted by Linnie at 3:03 PM