We're still a day or two away from giving you the promised Christmas gift. I've been working on it all weekend and I'm beginning to think that you'll really like it. Check back here as soon as tomorrow, but more likely on Wednesday, and bring time and a notepad with you.
Speaking of you, congratulations to You. I didn't even realize You had had such a great year. To say that I am jealous would be putting it mildly; however, I guess You deserve some recognition. Watch out, though. I, He, She, It, and possibly even They are coming after You next year.
~~~According to this Reuters article, writers in New Orleans are having a tough go of it post-Katrina:
Novelists, poets and playwrights are struggling to save and rebuild their scene in the city that was setting for classics like Williams' "Streetcar Named Desire," and Toole's "A Confederacy of Dunces" and Rice's popular "Interview With the Vampire."
Some have launched efforts to provide housing assistance and other aid for basic survival so writers can chronicle disaster and recovery in what previously was an affordable Bohemia on the Mississippi.
~~~According to a survey of over 4,000 college freshman and some 200 professors, there is a huge decline in reading of the "Great Books." Unless, of course, one of those books happens to have been made into a movie.
~~~Sven Birketts is no longer sure how to judge a book, but he's figured out the mechanisms behind getting the book to the point that it must be judged:
My conspiracy-minded alter-ego reared up: Suddenly everything started to look like a package, an "initiative." Writing might be the most solitary and soul-concentrated of vocations, but once a book enters the publishing sluice, it is a collectively-finessed object -- and the greater the investment, the more finessing.
I pictured the whole cabal in the conference room -- the editorial people, the publicists, the marketing department, maybe even the sales reps, all thinking how to overpower the obvious curse: the book's utterly forbidding length on the one hand, and the fact of it being literary, which is to say "difficult," on the other. Not that they would downplay the literary aspect completely. Literary can also translate into status, into prizes and honors. Readers like to see themselves reading works of recognized merit, they just don't want to feel inadequate in the attempt. No, the literary can be there, it just has to be pumped up. Think of Jeffrey Eugenides's "Middlesex," Jonathan Franzen's "The Corrections."
~~~The nonist is doing his part to spread some holiday cheer. Go check out the Christmas cards he's created for us to print out and send to everyone on our list.
~~~Finally, what a great idea: Peter Darbyshire asks the band Blood Meridian, named after the Cormac McCarthy book, to review McCarthy's latest novel, The Road:
READ THIS: So it's an emotional kind of beauty you see in The Road?
JEFF: It's so simple and basic. There's long periods of bleak nothingness, but then there are these bursts that are just intense.
MATT: Sometimes McCarthy's use of language, it doesn't work for me. It's too epic for the book it's written for. He's using this lofty language that's just way above the characters in the story. It works for Blood Meridian, and I think it works for The Road too.
READ THIS: Did you think The Road uses McCarthy's usual epic language? I thought it was stripped down for his work.
JEFF: It was less stripped down than No Country for Old Men. There was more poetry to The Road. For The Road, I probably read every sentence twice, but for Blood Meridian I probably read every sentence three or five times. You not only need to grasp the meaning of it, you also need to grasp the feeling of it, and the visual he's trying to paint for you.
MATT: There are similarities in the ways he uses his language between the books. Awful grammar. My high-school English teacher would cringe.