Wednesday, December 31, 2008

2008 Year In Review - Movies

Favorites are indicated with bold/underline font. Also note, these are all movies I watched for the first time in 2008, and does not include movies I have (1) seen before or (2) have only watched PART of a series (such as Dance to the Music of Time)

  1. Bury My Heart At Wounded Knee (2007 – USA)
  2. Wide Sargasso Sea (1993 – Australia)
  3. 3:10 to Yuma (2007 – USA)
  4. Funny Face (1957 – USA)
  5. Jesus Camp (2006 - USA) one of the most blatant depictions of child abuse I have ever witnessed
  6. Invasion of the Body Snatchers (1956 - USA) GESSNER!
  7. Eyes Without a Face (1960 - France)
  8. Night and Fog (1955 - France)
  9. Michael Clayton (2007 – USA)
  10. Becoming Jane (2007 – UK)
  11. Battle of Algiers (1966 – Italy)
  12. American Psycho (2000 – USA)
  13. Passion of Joan of Arc (1928 - France)
  14. Eternal Sunshine of the Spotless Mind (2004 - USA) The more I think about it, the more I like it
  15. Possession (2002 – USA)
  16. Fight Club (1999 – USA)
  17. Song of Bernadette (1943 – USA)
  18. Freaks (1932 – USA)
  19. Who’s Afraid of Virginia Woolf (1966 - USA) Elizabeth Taylor is AMAZING
  20. Cat On A Hot Tin Roof (1958 – USA)
  21. Solaris (2002 - USA)
  22. Baby Face (1933 – USA)
  23. Sunset Boulevard (1950 – USA)
  24. The Heart is a Lonely Hunter (1968 – USA)
  25. There Will Be Blood (2007 – USA)
  26. This Island Earth (1955 – USA)
  27. V for Vendetta (2005 – USA)
  28. Lost in Translation (2003 - USA) Like Eternal Sunshine... I like it more now than I did when I first watched it.
  29. Out of the Past (1947 – USA)
  30. Sin City (2005 – USA)
  31. In A Lonely Place (1950 – USA)
  32. Judgment Day – Intelligent Design on Trial (2007 – USA)
  33. Manhattan (1979 – USA)
  34. Viridiana (1961 - Spain) Can I possibly tell you how much I disliked this film? How much I dislike ALL Bunuel films I've seen?
  35. The Brain That Wouldn’t Die (1962 – USA)
  36. Rebel without a Cause (1955 - USA)
  37. Sophie’s Choice (1982 – USA)
  38. What’s Up Doc (1972 – USA)
  39. Don’t Look Now (1973 - UK) Even though I knew what was going to happen, it still scared the shit out of me.
  40. Bringing Up Baby (1938 - USA) Hillarious!
  41. Breathless (1960 – France)
  42. Closely Watched Trains (1966 – Czechoslovakia)
  43. Cabinet of Dr. Caligari (1919 - Germany) Absolutely the freakiest, most terrifying movie I have ever seen
  44. Attack of the Killer Tomatoes (1978 – USA)
  45. Nosferatu (1929 - Germany) After The Cabinet of Dr. Caligari, this was really disappointing.
  46. L’Inferno (1911 – Italy)
  47. Carnival of Souls (1962 – USA)
  48. Dracula (1931 – USA) Did people really think this was scary? Did people really think Bela Legosi was hot in this? I don't get it...
  49. All Things Fair (1995 – Sweden)
  50. 9 ½ Weeks (1986 – USA)
  51. Man on the Flying Trapeze (1935 - USA)
  52. La Dolce Vita (1960 – Italy)
  53. Une Femme est Une Femme (1961 - France)
  54. The Pink Panther (1963 - USA)
  55. To Have and Have Not (1944 - USA)
  56. Night of the Hunter (1955 - USA) The more I see of Mitchum, the more impressed I am of him.
  57. Bigfoot: The Legend of Sasquatch (1977 - USA)
  58. Celebrity (1998 - USA)
  59. Man With the Movie Camera (1929 - USSR)
  60. Laurel & Hardy's Babes in Toyland, aka March of the Wooden Soldiers (1934 - USA)
  61. Duck Soup (1933 - USA)
  62. Noises Off (1992 - USA)
  63. The Ice Harvest (2005 - USA)
  64. The Bishop's Wife (1947 - USA)
  65. Barton Fink (1991 - USA)
  66. Gremlins 2: The New Batch (1990 - USA) Have I ever told you how much I LOVE Gremlins? Every time the Gremlin Daffy came on the screen, I could not stop laughing.
  67. Burn After Reading

2008 Year in Review - Books

This was a good reading year. Sometimes I get to this point and think, man I read some stinkers! But this year – I had some stellar new discoveries…authors I look forward to coming back to and getting to know better: Cormac McCarthy, John Dos Passos, William Styron, Don Delillo, Primo Levi, Italo Calvino and Jonathan Lethem in particular. All men! There were stinkers this year as well – I wasn’t exempt. Wings of the Dove, Bonjour Tristesse, and Water for Elephants (which I believe was plagarized) belong in that pile, but the stinker of all stinkers was Eat, Pray, Love. God I hated that book. A fellow-blogger once asked me if I would rather read James’s The Ambassadors or Ulysses (the answer is Ulysses). I think the tougher questions is would I rather read The Ambassadors or Eat, Pray, Love. Now THAT would be a devil of a choice. I have often pondered what kind of hell God might invent for me, you know, if that’s how things work. I think a hell surrounded by people like Elizabeth Gilbert might be one option. But the stinkers have not dominated the landscape this year. If I can discover this many exciting “new” (for me) authors in 2009, I will consider it a success.
  1. Wide Sargasso Sea – Jean Rhys
  2. The Sea – John Banville
  3. Emma – Jane Austen
  4. The Road – Cormac McCarthy
  5. Sister Carrie – Theodore Dreiser
  6. The End of Alice – A.M. Homes
  7. Dance to the Music of Time (1st Movement) – Anthony Powell
  8. Portnoy’s Complaint – Philip Roth
  9. The Prime of Miss Jean Brodie – Muriel Spark
  10. Out of Their Minds – Clifford Simak
  11. Bonjour Tristesse – Francoise Sagan
  12. Wings of the Dove – Henry James
  13. Rabbit, Run – John Updike
  14. If This is a Man (aka Survival at Auschwitz) – Primo Levi
  15. A Room of One’s Own – Virginia Woolf
  16. Death Comes for the Archbishop – Willa Cather
  17. A Passage to India – E.M. Forster
  18. The Lost Honor of Katharina Blum – Heinrich Böll
  19. Female Chauvinist Pigs – Ariel Levy
  20. Water for Elephants – Sarah Gruen
  21. The Violent Bear It Away – Flannery O’Connor
  22. Lambs of London – Peter Ackroyd
  23. Fear of Flying – Erica Jong
  24. Nostromo – Joseph Conrad
  25. Solaris – Stanislaw Lem
  26. Falling Man – Don Delillo
  27. Barabbas – Par Lagerkvist
  28. The Odyssey - Homer
  29. Eat, Pray, Love – Elizabeth Gilbert
  30. Oranges Are Not the Only Fruit – Jeanette Winterson
  31. Dance to the Music of Time (2nd Movement) – Anthony Powell
  32. The Trick is to Keep Breathing – Janice Galloway
  33. The Penelopiad – Margaret Atwood
  34. I Know Why the Caged Bird Sings – Maya Angelou
  35. Loving – Henry Green
  36. Never Let Me Go – Kauzo Ishiguro
  37. The Zookeeper’s Wife – Diane Ackerman
  38. The Story of the Eye – Georges Bataille
  39. A Moveable Feast - Ernest Hemingway
  40. Ulysses – James Joyce
  41. The Pit and the Pendulum – Edgar Allen Poe
  42. Motherless Brooklyn – Jonathan Lethem
  43. Main Street – Sinclair Lewis
  44. Sophie’s Choice – William Styron
  45. An Exact Replica of a Figment of My Imagination – Elizabeth McCracken
  46. Carmilla – Sheridan LeFanu
  47. House of Mirth – Edith Wharton
  48. Visions of Gerard – Jack Kerouac
  49. Bless Me Ultima – Rudolfo Araya
  50. Death in Venice – Thomas Mann
  51. Call of the Wild – Jack London
  52. The Painted Veil – W. Somerset Maugham
  53. 42nd Parallel – John Dos Passos
  54. The Nose - Nikolai Gogol
  55. Candide - Voltaire
  56. Billy Budd - Herman Melville
  57. The Wapshot Chronicle - John Cheever
  58. If on a Winter's Night a Traveler - Italo Calvino
  59. L'Enfer - Henri Barbusse
  60. Dance to the Music of Time (3rd Movement) – Anthony Powell


Henri Barbusse's 1908 L'enfer (aka Hell or The Inferno) gives us an unnamed narrator living in a boarding house in Paris. He discovers that through a hole in the wall, he can see into the room next door, where he spies on his fellow boarders. There's a lot of pseudo-philosophizing (or, more precisely, sentimental bullshit) about love and death. When I read stuff like this...also the works of Georges Bataille and amazes me - the French capacity for this stuff. It comes out again in some of the French new wave films of the 1960s that I've seen...I'm thinking specifically of Breathless (though certainly not to this extent).

She interrupted him with a gesture of infinite weariness.

"I know what you are going to say. You are going to talk to me about the beauty of suffering. I know your noble ideas. I love them, my love, your beautiful theories, but I do not believe in them. I would believe them if they consoled me and effaced death."

With a manifest effort, as uncertain of himself as she was of herself, feeling his way, he replied:

"They would efface it, perhaps, if you believed in them."

She turned toward him and took one of his hands in both of hers. She questioned him with inexorable patience, then she slipped to her knees before him, like a lifeless body, humbled herself in the dust, wrecked in the depths of despair, and implored him:

"Oh, answer me! I should be so happy if you could answer me. I feel as though
you really could!"

He bent over her, as if on the edge of an abyss of questioning: "Do you know what we are?" he murmured. "Everything we say, everything we think, everything we believe, is fictitious. We know nothing. Nothing is sure or solid."

"You are wrong," she cried. "There is something absolute, our sorrow, our need, our
misery. We can see and touch it. Deny everything else, but our beggary, who can deny that?"

"You are right," he said, "it is the only absolute thing in the world."

There's a lot of that in this book.

I don't really have anything additional to say about this book. It wasn't very exciting, the writing was fairly mediocre, the story didn't grab me. Overall: zzzzzzzzzzzzzzzzzzzzzzzz

Monday, December 29, 2008

If On A Winter's Night a Traveler

You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell the others right away, “No, I don’t want to watch TV!” Raise your voice—they won’t hear you otherwise—“I’m reading! I don’t want to be disturbed!” Maybe they haven’t heard you, with all that racket; speak louder, yell: “I’m beginning to read Italo Calvino’s new novel!” Or if you prefer, don’t say anything; just hope they’ll leave you alone.

Find the most comfortable position: seated, stretched out, curled up, or lying flat. Flat on your back, on your side, on your stomach. In an easy chair, on the sofa, in the rocker, the deck chair, on the hassock. In the hammock, if you have a hammock. On top of your bed, of course, or in the bed. You can even stand on your hands, head down, in the yoga position. With the book upside down, naturally.

Of course, the ideal position for reading is something you can never find. In the old days they used to read standing up, at a lectern. People were accustomed to standing on their feet, without moving. They rested like that when they were tired of horseback riding. Nobody ever thought of reading on horseback; and yet now, the idea of sitting in the saddle, the book propped against the horse’s mane, or maybe tied to the horse’s ear with a special harness, seems attractive to you. With your feet in the stirrups, you should feel quite comfortable for reading; having your feet up is the first condition for enjoying a read.

Well, what are you waiting for? Stretch you legs, go ahead and put your feet on a cushion, on two cushions, on the arms of the sofa, on the wings of the chair, on the coffee table, on the desk, on the piano, on the globe. Take your shoes off first. If you want to, put your feet up; if not, put them back. Now don’t stand there with your shoes in one hand and the book in the other.

Adjust the light so you won’t strain your eyes. Do it now, because once you’re absorbed in reading there will be no budging you. Make sure the page isn’t in shadow, a clotting of black letters on a gray background, uniform as a pack of mice; but be careful that the light cast on it isn’t too strong, doesn’t glare on the cruel white of the paper, gnawing at the shadows of the letters as in a southern noonday. Try to foresee now everything that might make you interrupt your reading. Cigarettes within reach, if you smoke, and the ashtray. Anything else? Do you have to pee? All right, you know best."


I immediately recognized that If On A Winter's Night a Traveler is a book best read alone, in a room with the door shut. Perhaps it would best be read alone in a cabin with a fire, snow outside. But I don't have a cabin with a fireplace, so my bedroom will have to do. I usually read over my lunch at work, and once I pulled out Calvino's book and thought better of it. It's better suited for a quiet evening where there will be no interuptions. After a while I even stopped carrying it around - there was no reason to do so, as I knew I wouldn't pick it up while stopped for a train, or waiting for the dentist or whatever. It's one of those books that requires a particular reading experience...a particular setting, and without that setting there really is no point in reading it.

That opening is so powerful, so wonderfully written. It reminds me of the opening of Delillo’s Falling Man which was also amazing… “It was not a street anymore but a world, a time and space of falling ash and near night.” I still think about those opening lines.

Calvino doesn’t tell one story in If on a Winter’s Night a Traveler: he tells eleven. It’s the story of “The Reader,” addressed in the second person. He (it becomes clear later on that "The Reader" is either a man or a lesbian, with evidence pointing towards the former) starts to read Italo Calvino’s “If on a Winter’s Night a Traveler” but after a few pages discovers that the rest of the book is missing. The Reader goes back to the bookstore to return the novel, but all the copies are like that. They got mixed up with another book, “Outside the town of Malbork” by Tazio Bazakbal, at the printers. So, “you”, the reader, buy that one, thinking it might continue the Calvino novel. It turns out it’s an entirely different book. So begins the quest to find a complete novel…all the books keep getting interrupted. By about half-way through, I did start to get disoriented…I got lost trying to remember what fragment of a book I was in, and how the reader, and therefore I suppose I, came into possession of it, and how it related to the other fragmentary stories. But no matter, really. Should it be any wonder that it’s disorienting? It’s eleven stories in one.

What makes this book is the writing. It’s FABULOUS. There are so many passages…beautiful passages that I underlined about the nature of reading. “One reads alone, even in another’s presence.” “I, too, feel the need to reread the books I have already read…but at every rereading I seem to be reading a new book, for the first time. Is it I who keep changing and seeing new things of which I was not previously aware?...Every time I seek to relive the emotion of a previous reading, I experience different and unexpected impressions, and do not find again those of before.”

I’ve been wanting to read this novel for so long…years I think. And while it was a little different than I really expected, the writing did not disappoint. Like with many other books, such as Sophie’s Choice, I wish it wouldn’t have taken me so long to read…it would be much more powerful (and easier to understand) to read it in a short amount of time. But something has come up again that’s interrupting my reading...not that I’m complaining, but I’m trying to muscle through, though it makes it difficult. I am anxious to read more from Calvino. And why are you still reading this post? Why haven’t you, Reader, gone and picked up If on a Winter’s Night a Traveler? Do yourself a favor for the new year and read the book!

List-o-Phile Monday

Continuing the 1,001 Books list…here is the first 100 from the 1800s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it. What's interesting to me with this list is that there are large wholes...for the most part, my reading appears to be concentrated around certain times, and then skip over decades. For example, I only read one between #46 and #80, and then we come to a cluster of eight that I've read, then it's another gap.

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
The third 100 of the 1900s
The fourth 100 of the 1900s
The fifth 100 of the 1900s
The sixth 100 of the 1900s
The last group from the 1900s

  1. Some Experiences of an Irish R.M. – Somerville and Ross
  2. The Stechlin – Theodore Fontane
  3. The Awakening – Kate Chopin
  4. The Turn of the Screw – Henry James
  5. The War of the Worlds – H.G. Wells
  6. The Invisible Man – H.G. Wells
  7. What Maisie Knew – Henry James
  8. Fruits of the Earth – André Gide
  9. Dracula – Bram Stoker
  10. Quo Vadis – Henryk Sienkiewicz
  11. The Island of Dr. Moreau – H.G. Wells
  12. The Time Machine – H.G. Wells
  13. Effi Briest – Theodore Fontane
  14. Jude the Obscure – Thomas Hardy
  15. The Real Charlotte – Somerville and Ross
  16. The Yellow Wallpaper – Charlotte Perkins Gilman
  17. Born in Exile – George Gissing
  18. Diary of a Nobody – George & Weedon Grossmith
  19. The Adventures of Sherlock Holmes – Sir Arthur Conan Doyle
  20. News from Nowhere – William Morris
  21. New Grub Street – George Gissing
  22. Gösta Berling’s Saga – Selma Lagerlöf
  23. Tess of the D’Urbervilles – Thomas Hardy
  24. The Picture of Dorian Gray – Oscar Wilde
  25. The Kreutzer Sonata – Leo Tolstoy
  26. La Bête Humaine – Émile Zola
  27. By the Open Sea – August Strindberg
  28. Hunger – Knut Hamsun
  29. The Master of Ballantrae – Robert Louis Stevenson
  30. Pierre and Jean – Guy de Maupassant
  31. Fortunata and Jacinta – Benito Pérez Galdés
  32. The People of Hemsö – August Strindberg
  33. The Woodlanders – Thomas Hardy
  34. She – H. Rider Haggard
  35. The Strange Case of Dr. Jekyll and Mr. Hyde – Robert Louis Stevenson
  36. The Mayor of Casterbridge – Thomas Hardy
  37. Kidnapped – Robert Louis Stevenson
  38. King Solomon’s Mines – H. Rider Haggard
  39. Germinal – Émile Zola
  40. The Adventures of Huckleberry Finn – Mark Twain
  41. Bel-Ami – Guy de Maupassant
  42. Marius the Epicurean – Walter Pater
  43. Against the Grain – Joris-Karl Huysmans
  44. The Death of Ivan Ilyich – Leo Tolstoy
  45. A Woman’s Life – Guy de Maupassant
  46. Treasure Island – Robert Louis Stevenson
  47. The House by the Medlar Tree – Giovanni Verga
  48. The Portrait of a Lady – Henry James
  49. Bouvard and Pécuchet – Gustave Flaubert
  50. Ben-Hur – Lew Wallace
  51. Nana – Émile Zola
  52. The Brothers Karamazov – Fyodor Dostoevsky
  53. The Red Room – August Strindberg
  54. Return of the Native – Thomas Hardy
  55. Anna Karenina – Leo Tolstoy
  56. Drunkard – Émile Zola
  57. Virgin Soil – Ivan Turgenev
  58. Daniel Deronda – George Eliot
  59. The Hand of Ethelberta – Thomas Hardy
  60. The Temptation of Saint Anthony – Gustave Flaubert
  61. Far from the Madding Crowd – Thomas Hardy
  62. The Enchanted Wanderer – Nicolai Leskov
  63. Around the World in Eighty Days – Jules Verne
  64. In a Glass Darkly – Sheridan Le Fanu
  65. The Devils – Fyodor Dostoevsky
  66. Erewhon – Samuel Butler
  67. Spring Torrents – Ivan Turgenev
  68. Middlemarch – George Eliot
  69. Through the Looking Glass, and What Alice Found There – Lewis Carroll
  70. King Lear of the Steppes – Ivan Turgenev
  71. He Knew He Was Right – Anthony Trollope
  72. War and Peace – Leo Tolstoy
  73. Sentimental Education – Gustave Flaubert
  74. Phineas Finn – Anthony Trollope
  75. Maldoror – Comte de Lautréaumont
  76. The Idiot – Fyodor Dostoevsky
  77. The Moonstone – Wilkie Collins
  78. Little Women – Louisa May Alcott
  79. Thérèse Raquin – Émile Zola
  80. The Last Chronicle of Barset – Anthony Trollope
  81. Journey to the Centre of the Earth – Jules Verne
  82. Crime and Punishment – Fyodor Dostoevsky
  83. Alice’s Adventures in Wonderland – Lewis Carroll
  84. Our Mutual Friend – Charles Dickens
  85. Uncle Silas – Sheridan Le Fanu
  86. Notes from the Underground – Fyodor Dostoevsky
  87. The Water-Babies – Charles Kingsley
  88. Les Misérables – Victor Hugo
  89. Fathers and Sons – Ivan Turgenev
  90. Silas Marner – George Eliot
  91. Great Expectations – Charles Dickens
  92. On the Eve – Ivan Turgenev
  93. Castle Richmond – Anthony Trollope
  94. The Mill on the Floss – George Eliot
  95. The Woman in White – Wilkie Collins
  96. The Marble Faun – Nathaniel Hawthorne
  97. Max Havelaar – Multatuli
  98. A Tale of Two Cities – Charles Dickens
  99. Oblomovka – Ivan Goncharov
  100. Adam Bede – George Eliot

Wednesday, December 24, 2008

The Wapshot Chronicle

I came to this book without any expectations. As much as it shows ignorance, I had never heard of this book or its author (John Cheevers) before the Modern Library list.

From the outset, the book was mildly humorous and quirky. It’s the story of the Wapshot family: Leander and Sarah, their two sons Coverly and Moses, and the aunt with the purse strings, Honora. It’s mildly humous and quirky, however, until the second part, when I encountered this: “Writer’s epistolary style (Leander wrote) formed in tradition of Lord Timothy Dexter, who put all punctuation marks, prepositions, adverts, articles, etc., at the end of communication and urged reader to distribute same as he saw fit. West Farm. Autumn day. 3 p.m. Nice sailing breeze from NW quarter. Golden light. Glittering riffle on water. Hornets on ceiling. An old house. Roofs of St. Botolphs in the distance. Old river-bottom burg today. Family prominent there once. Name memorialized in many things in vicinity; lakes, roads, hills even. Wapshot Avenue now back street in honkytonk beach resort further south. Smell of hot dogs, popcorn, also salt air and grinding music from old merry-go-round calliope. Matchwood cottages for rent by day, week or season…” Fortunately, that doesn’t last for the rest of the book.

More than anything, it’s the story of three emasculated men. First, Honora accidently sees Moses having some fun with a female house guest while she’s hiding in a closet. Don’t ask. Then she turns into the mean old aunt with the money. She tells Leander that the boys need to get out on their own and she puts Leander’s boat (which she owns) up for sale. Honora actually owns pretty much all of the Wapshot stuff, including their farm. The sale of the boat falls through, but Leander wrecks it, and his wife turns it into a gift shop. Both of the boys eventually get married, but of course they both have issues with their wives, which leaves them further emasculated. Leander pretends to shoot himself; Leander sends fake letters to his sons saying that he’s dying. Coverly’s dumb wife leaves him (briefly), and Moses’s wife is (for a time) under the thumb of rich old Justina, who gives the couple two twin beds for their wedding present. And then we “come to the unsavory or homosexual part of our tale.” Yes, Cheever actually wrote that. In the end, Coverly’s wife comes back, Justina’s house burns down, and Leander dies.

When you come to a book without expectations, it's hard to be disappointed. And I was not disappointed by The Wapshot Chronicle. But I wasn't wowed and/or awed either. Funny, but not too funny. A little strange, but maybe not strange enough. All in all, not bad...not great, but not bad.

Monday, December 22, 2008

List-o-Phile Monday

Continuing the 1,001 Books list…here is the last group from the 1900s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it.

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
The third 100 of the 1900s
The fourth 100 of the 1900s
The fifth 100 of the 1900s
The sixth 100 of the 1900s

  1. Les Enfants Terribles – Jean Cocteau
  2. Look Homeward, Angel – Thomas Wolfe
  3. Story of the Eye – Georges Bataille
  4. Orlando – Virginia Woolf
  5. Lady Chatterley’s Lover – D.H. Lawrence
  6. The Well of Loneliness – Radclyffe Hall
  7. The Childermass – Wyndham Lewis
  8. Quartet – Jean Rhys
  9. Decline and Fall – Evelyn Waugh
  10. Quicksand – Nella Larsen
  11. Parade’s End – Ford Madox Ford
  12. Nadja – André Breton
  13. Steppenwolf – Herman Hesse
  14. Remembrance of Things Past – Marcel Proust
  15. To The Lighthouse – Virginia Woolf
  16. Tarka the Otter – Henry Williamson
  17. Amerika – Franz Kafka
  18. The Sun Also Rises – Ernest Hemingway
  19. Blindness – Henry Green
  20. The Castle – Franz Kafka
  21. The Good Soldier Švejk – Jaroslav Hašek
  22. The Plumed Serpent – D.H. Lawrence
  23. One, None and a Hundred Thousand – Luigi Pirandello
  24. The Murder of Roger Ackroyd – Agatha Christie
  25. The Making of Americans – Gertrude Stein
  26. Manhattan Transfer – John Dos Passos
  27. Mrs. Dalloway – Virginia Woolf
  28. The Great Gatsby – F. Scott Fitzgerald
  29. The Counterfeiters – André Gide
  30. The Trial – Franz Kafka
  31. The Artamonov Business – Maxim Gorky
  32. The Professor’s House – Willa Cather
  33. Billy Budd, Foretopman – Herman Melville
  34. The Green Hat – Michael Arlen
  35. The Magic Mountain – Thomas Mann
  36. We – Yevgeny Zamyatin
  37. A Passage to India – E.M. Forster
  38. The Devil in the Flesh – Raymond Radiguet
  39. Zeno’s Conscience – Italo Svevo
  40. Cane – Jean Toomer
  41. Antic Hay – Aldous Huxley
  42. Amok – Stefan Zweig
  43. The Garden Party – Katherine Mansfield
  44. The Enormous Room – E.E. Cummings
  45. Jacob’s Room – Virginia Woolf
  46. Siddhartha – Herman Hesse
  47. The Glimpses of the Moon – Edith Wharton
  48. Life and Death of Harriett Frean – May Sinclair
  49. The Last Days of Humanity – Karl Kraus
  50. Aaron’s Rod – D.H. Lawrence
  51. Babbitt – Sinclair Lewis
  52. Ulysses – James Joyce
  53. The Fox – D.H. Lawrence
  54. Crome Yellow – Aldous Huxley
  55. The Age of Innocence – Edith Wharton
  56. Main Street – Sinclair Lewis
  57. Women in Love – D.H. Lawrence
  58. Night and Day – Virginia Woolf
  59. Tarr – Wyndham Lewis
  60. The Return of the Soldier – Rebecca West
  61. The Shadow Line – Joseph Conrad
  62. Summer – Edith Wharton
  63. Growth of the Soil – Knut Hamsen
  64. Bunner Sisters – Edith Wharton
  65. A Portrait of the Artist as a Young Man – James Joyce
  66. Under Fire – Henri Barbusse
  67. Rashomon – Akutagawa Ryunosuke
  68. The Good Soldier – Ford Madox Ford
  69. The Voyage Out – Virginia Woolf
  70. Of Human Bondage – William Somerset Maugham
  71. The Rainbow – D.H. Lawrence
  72. The Thirty-Nine Steps – John Buchan
  73. Kokoro – Natsume Soseki
  74. Locus Solus – Raymond Roussel
  75. Rosshalde – Herman Hesse
  76. Tarzan of the Apes – Edgar Rice Burroughs
  77. The Ragged Trousered Philanthropists – Robert Tressell
  78. Sons and Lovers – D.H. Lawrence
  79. Death in Venice – Thomas Mann
  80. The Charwoman’s Daughter – James Stephens
  81. Ethan Frome – Edith Wharton
  82. Fantômas – Marcel Allain and Pierre Souvestre
  83. Howards End – E.M. Forster
  84. Impressions of Africa – Raymond Roussel
  85. Three Lives – Gertrude Stein
  86. Martin Eden – Jack London
  87. Strait is the Gate – André Gide
  88. Tono-Bungay – H.G. Wells
  89. The Inferno – Henri Barbusse
  90. A Room With a View – E.M. Forster
  91. The Iron Heel – Jack London
  92. The Old Wives’ Tale – Arnold Bennett
  93. The House on the Borderland – William Hope Hodgson
  94. Mother – Maxim Gorky
  95. The Secret Agent – Joseph Conrad
  96. The Jungle – Upton Sinclair
  97. Young Törless – Robert Musil
  98. The Forsyte Sage – John Galsworthy
  99. The House of Mirth – Edith Wharton
  100. Professor Unrat – Heinrich Mann
  101. Where Angels Fear to Tread – E.M. Forster
  102. Nostromo – Joseph Conrad
  103. Hadrian the Seventh – Frederick Rolfe
  104. The Golden Bowl – Henry James
  105. The Ambassadors – Henry James
  106. The Riddle of the Sands – Erskine Childers
  107. The Immoralist – André Gide
  108. The Wings of the Dove – Henry James
  109. Heart of Darkness – Joseph Conrad
  110. The Hound of the Baskervilles – Sir Arthur Conan Doyle
  111. Buddenbrooks – Thomas Mann
  112. Kim – Rudyard Kipling
  113. Sister Carrie – Theodore Dreiser
  114. Lord Jim – Joseph Conrad

Friday, December 19, 2008

Billy Budd

Oh, Billy Budd. What to say about you?

A few years ago, I read Moby Dick and LOVED it. There are so many levels to it, it’s so rich, so perfectly written. Definitely one of the top three American novels of the 19th century, and definitely one of the top ten American novels ever.

Then…I think it was earlier this year…I read "Bartleby the Scrivener." WTF is that all about? "I'd perfer not." Melville is clearly a very talented writer, but, what? You lost me there, Herman.
And now Billy Budd. I really don’t know what to say. I don’t know that I have anything to say. It’s Billy Budd – he’s a 21 year old popular strapping sailor who is drafted (essentially) into the British Navy in 1797. Claggart, the ship’s Master-at-Arms has it out for him, and eventually turns him into the Captain for trying to start a mutiny. When Billy Budd is told of the charges, he hits Claggart so hard he kills him. Billy is tried, convicted, and hung. There’s a lot of pontificating and waxing poetic in between.

I know, I know…Abraham and Isaac, Jesus metaphors, etc. The Publishing Triangle put it at #13 on their list of the 100 best lesbian and gay novels. But it’s not really a gay novel, is it? There are sort-of gay overtones, or undertones, to the story. Claggart’s hatred of Billy Budd clearly springs from some kind of attraction or jealousy towards Budd. But really. That list is crazy anyway…To Kill A Mockingbird, Death Comes for the Archbishop AND Little Women are on there.

I’m ambivalent about the whole thing. It was certainly well written, I just wasn't pulled into the story. Oh Herman, where did our relationship go wrong? But I'm willing to work on it. I am committed to my relationship with Melville. In the future: Typee, Pierre, Confidence Man, and probably others. Hopefully, these issues with the intimate relationship between writer and reader will resolve themsevles.

Monday, December 15, 2008

List-o-Phile Monday

Continuing the 1,001 Books list…here are the sixth group of 100 from the 1900s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
The third 100 of the 1900s
The fourth 100 of the 1900s
The fifth 100 of the 1900s
  1. Ficciones – Jorge Luis Borges
  2. Dangling Man – Saul Bellow
  3. The Little Prince – Antoine de Saint-Exupéry
  4. Caught – Henry Green
  5. The Glass Bead Game – Herman Hesse
  6. Embers – Sandor Marai
  7. Go Down, Moses – William Faulkner
  8. The Stranger – Albert Camus
  9. In Sicily – Elio Vittorini
  10. The Poor Mouth – Flann O’Brien
  11. The Living and the Dead – Patrick White
  12. Hangover Square – Patrick Hamilton
  13. Between the Acts – Virginia Woolf
  14. The Hamlet – William Faulkner
  15. Farewell My Lovely – Raymond Chandler
  16. For Whom the Bell Tolls – Ernest Hemingway
  17. Native Son – Richard Wright
  18. The Power and the Glory – Graham Greene
  19. The Tartar Steppe – Dino Buzzati
  20. Party Going – Henry Green
  21. The Grapes of Wrath – John Steinbeck
  22. Finnegans Wake – James Joyce
  23. At Swim-Two-Birds – Flann O’Brien
  24. Coming Up for Air – George Orwell
  25. Goodbye to Berlin – Christopher Isherwood
  26. Tropic of Capricorn – Henry Miller
  27. Good Morning, Midnight – Jean Rhys
  28. The Big Sleep – Raymond Chandler
  29. After the Death of Don Juan – Sylvie Townsend Warner
  30. Miss Pettigrew Lives for a Day – Winifred Watson
  31. Nausea – Jean-Paul Sartre
  32. Rebecca – Daphne du Maurier
  33. Cause for Alarm – Eric Ambler
  34. Brighton Rock – Graham Greene
  35. U.S.A. – John Dos Passos
  36. Murphy – Samuel Beckett
  37. Of Mice and Men – John Steinbeck
  38. Their Eyes Were Watching God – Zora Neale Hurston
  39. The Hobbit – J.R.R. Tolkien
  40. The Years – Virginia Woolf
  41. In Parenthesis – David Jones
  42. The Revenge for Love – Wyndham Lewis
  43. Out of Africa – Isak Dineson (Karen Blixen)
  44. To Have and Have Not – Ernest Hemingway
  45. Summer Will Show – Sylvia Townsend Warner
  46. Eyeless in Gaza – Aldous Huxley
  47. The Thinking Reed – Rebecca West
  48. Gone With the Wind – Margaret Mitchell
  49. Keep the Aspidistra Flying – George Orwell
  50. Wild Harbour – Ian MacPherson
  51. Absalom, Absalom! – William Faulkner
  52. At the Mountains of Madness – H.P. Lovecraft
  53. Nightwood – Djuna Barnes
  54. Independent People – Halldór Laxness
  55. Auto-da-Fé – Elias Canetti
  56. The Last of Mr. Norris – Christopher Isherwood
  57. They Shoot Horses, Don’t They? – Horace McCoy
  58. The House in Paris – Elizabeth Bowen
  59. England Made Me – Graham Greene
  60. Burmese Days – George Orwell
  61. The Nine Tailors – Dorothy L. Sayers
  62. Threepenny Novel – Bertolt Brecht
  63. Novel With Cocaine – M. Ageyev
  64. The Postman Always Rings Twice – James M. Cain
  65. Tropic of Cancer – Henry Miller
  66. A Handful of Dust – Evelyn Waugh
  67. Tender is the Night – F. Scott Fitzgerald
  68. Thank You, Jeeves – P.G. Wodehouse
  69. Call it Sleep – Henry Roth
  70. Miss Lonelyhearts – Nathanael West
  71. Murder Must Advertise – Dorothy L. Sayers
  72. The Autobiography of Alice B. Toklas – Gertrude Stein
  73. Testament of Youth – Vera Brittain
  74. A Day Off – Storm Jameson
  75. The Man Without Qualities – Robert Musil
  76. A Scots Quair (Sunset Song) – Lewis Grassic Gibbon
  77. Journey to the End of the Night – Louis-Ferdinand Céline
  78. Brave New World – Aldous Huxley
  79. Cold Comfort Farm – Stella Gibbons
  80. To the North – Elizabeth Bowen
  81. The Thin Man – Dashiell Hammett
  82. The Radetzky March – Joseph Roth
  83. The Waves – Virginia Woolf
  84. The Glass Key – Dashiell Hammett
  85. Cakes and Ale – W. Somerset Maugham
  86. The Apes of God – Wyndham Lewis
  87. Her Privates We – Frederic Manning
  88. Vile Bodies – Evelyn Waugh
  89. The Maltese Falcon – Dashiell Hammett
  90. Hebdomeros – Giorgio de Chirico
  91. Passing – Nella Larsen
  92. A Farewell to Arms – Ernest Hemingway
  93. Red Harvest – Dashiell Hammett
  94. Living – Henry Green
  95. The Time of Indifference – Alberto Moravia
  96. All Quiet on the Western Front – Erich Maria Remarque
  97. Berlin Alexanderplatz – Alfred Döblin
  98. The Last September – Elizabeth Bowen
  99. Harriet Hume – Rebecca West
  100. The Sound and the Fury – William Faulkner

Friday, December 12, 2008


I’m embarrassed that I’m only now reading Candide. Especially considering that I spent 1998-2000 completely engrossed by Enlightenment thinkers – specifically the Deists, of whom Voltaire was one. I spent my freshman year of college reading the collected religious writings of Thomas Paine, and books such as Deism in 18th Century America and Religion During the American Enlightenment. You know, normal pursuits for an 18 year old. I remember at one point in there picking up Candide, and maybe reading the first page and then putting it down. I don’t know what my problem was.

So, finally, after 10 years, I came around to Candide. And damn – this book is hilarious! For those of you who don’t know, Candide is a boy who grows up in a Westphalian castle. One day, the Baron catches him kissing his daughter and sends him away, thus starting the chain of adventures that follows. Candide’s teacher, Dr. Pangloss, espouses Leibnizian optimism, stating that we live in the best of all possible worlds. But Candide quickly realizes “if this is the best of all possible worlds, what then are the others?” Explaining Pangloss’s theory later, Candide says, “it is the madness of maintaining that everything is right when it is wrong.” The point of the book is to satirize this idea. Shortly after its publication it was banned for blasphemy and political sedition and it was added to the Catholic Church’s list of prohibited books in 1762. Regardless it was a HUGE bestseller at the time. Voltaire didn’t admit to writing it until almost a decade later…though everyone suspected it was him. In 1929, the book was barred from entering the U.S. by a Boston customs official because it was obscene. [This is a great quote.] “For years we’ve been letting that book get by. There were so many different editions, all sizes and kinds, some illustrated and some plain, that we figured the book must be all right. Then one of us happened to read it.” Ah, Mrs. Winterson (Jeanette’s mother) would have known better! What is it she always said – the trouble with books is that you don’t know what’s in them until it’s too late?

Beyond the basic plot and the humorousness of it all, there is a serious side to it as well. The central issue of the novel is the problem of evil – how can an omnipotent and benevolent God allow suffering? This issue came up for Voltaire in the wake of the Lisbon earthquake and the subsequent fire and tsunamis that completely devastated the city in 1755. Prior to that, both Leibniz and Voltaire’s friend Alexander Pope had proclaimed the optimistic doctrine. Voltaire composed a poem entitled “On the Disaster at Lisbon or an Examination of the Axiom ‘All is well’” to directly address the optimist claims in light of the earthquake:

Unhappy mortals! Dark and mourning earth!
Affrighted gathering of human kind!
Eternal lingering of useless pain!
Come, ye philosophers, who cry, "All’s well,"
And contemplate this ruin of a world.
Behold these shreds and cinders of your race,
This child and mother heaped in common wreck,
These scattered limbs beneath the marble shafts—
A hundred thousand whom the earth devours,
Who, torn and bloody, palpitating yet,
Entombed beneath their hospitable roofs,
In racking torment end their stricken lives.
To those expiring murmurs of distress,
To that appalling spectacle of woe,
Will ye reply: "You do but illustrate
The Iron laws that chain the will of God"?
Say ye, o’er that yet quivering mass of flesh:
"God is avenged: the wage of sin is death"?
What crime, what sin, had those young hearts conceived
That lie, bleeding and torn, on mother’s breast?
Did fallen Lisbon deeper drink of vice
Than London, Paris, or sunlit Madrid?
In these men dance; at Lisbon yawns the abyss.
Tranquil spectators of your brothers’ wreck,
Unmoved by this repellent dance of death,
Who calmly seek the reason of such storms,
Let them but lash your own security;
Your tears will mingle freely with the flood.

When earth its
horrid jaws half open shows,
My plaint is innocent, my cries are just.
Surrounded by such cruelties of fate,
By rage of evil and by snares of death,
Fronting the fierceness of the elements,
Sharing our ills, indulge me my lament.
"Tis pride," ye say— "the pride of rebel heart,
To think we might fare better than we do."
Go, tell it to the Tagus’ stricken banks;
Search in the ruins of that bloody shock;
Ask of the dying in that house, of grief,
Whether ‘tis pride that calls on heaven for help
And pity for the sufferings of men.
"All’s well," ye say, "and all is necessary."
Think ye this universe had been the worse
Without this hellish gulf in Portugal?

… But how conceive a God supremely good,
Who heaps his favors on the sons he loves
Yet scatters evil with as large a hand?
What eye can pierce the depth of his designs?
From that all-perfect Being came not ill:
And came it from no other, for he’s lord:
Yet it exists. O stern and numbing truth!

…‘Tis mockery to tell me all is well.

Voltaire expanded upon this theme in Candide. In Pangloss (the meaning of his name, “all tongues” is obviously getting at him being “all talk”), Voltaire created this ridiculous spokesman for the optimist, who always responds that all is for the best, regardless of what suffering he is confronted with…even his own. As the book goes on, the sufferings become more and more intense, and it seeks to illustrate that in the midst of such terrible circumstances that the characters encounter, it is really absurd to believe that this is the best of all worlds. But Pangloss never waivers. “I am still of my first opinion…for I am a philosopher and cannot retract, especially as Leibniz could never be wrong.” Later, “Pangloss owned that he had always suffered horribly, but as he had once asserted that everything went wonderfully well, he asserted it still, though he no longer believed it.”

Candide, on the other hand, is more wishy-washy about the subject. When things are going well, he asserts this must be the best of all possible worlds; when things are going badly for him, he asserts the opposite. In the end, Candide is married to Cunegonde (though he admits he was never really interested in doing so) and is living on a farm with Pangloss, Martin, Cacambo, and the old woman (are we ever told her name? If we are, I completely forget what it is!) and they are bored and unhappy:

‘"I want to know which is worse, to be ravished a hundred times by negro pirates, to have a buttock cut off, to run the gauntlet among the Bulgarians, to be whipped and hanged at an auto-da-fé, to be dissected, to row in the galleys—in short, to go through all the miseries we have undergone, or to stay here and have nothing to do?"

"It is a great question," said Candide.’

So, they go to see a Dervish and ask him what he thinks about things.

"Master," said he, "we come to beg you to tell why so strange an animal as man was made."

"With what meddlest thou?" said the Dervish; "is it thy business?"

"But, reverend father," said Candide, "there is horrible evil in this world."

"What signifies it," said the Dervish, "whether there be evil or good? When his highness sends a ship to Egypt, does he trouble his head whether the mice on board are at their ease or not?"

"What, then, must we do?" said Pangloss.

"Hold your tongue," answered the Dervish.

"I was in hopes," said Pangloss, "that I should reason with you a little about causes and effects, about the best of possible worlds, the origin of evil, the nature of the soul, and the pre-established harmony."

At these words, the Dervish shut the door in their faces.
It is eventually decided by all that they work without arguing with each other – it’s the only way to be content. But Pangloss, being old and set in his ways, keeps trying to explain to Candide why this really is the best of all possible worlds: "There is a concatenation of events in this best of all possible worlds: for if you had not been kicked out of a magnificent castle for love of Miss Cunegonde: if you had not been put into the Inquisition: if you had not walked over America: if you had not stabbed the Baron: if you had not lost all your sheep from the fine country of El Dorado: you would not be here eating preserved citrons and pistachio-nuts." But Candide has finally come to the conclusion that it’s best just to work in the garden, not waste time on discussions about the garden’s design.

The question remains as to whether Voltaire slightly misrepresented the optimist viewpoint. To see that this really is the best possible world, they claim, you must be able to look at events in their totality – as in from an omniscient or divine point of view. One of the central concepts of optimism is that human understanding is too limited to see the reasoning behind human suffering, and it cannot be applied to individual circumstances. That is why Candide continually oscillates – because when good things happen to him, he thinks, yes – all really is for the best; when bad things happen, he thinks, how could this world possibly be the best there is, or as I already quoted him above, if this is the best of all worlds, I’d hate to see what the others look like. Voltaire may be suggesting that optimism isn’t necessarily false, just irrelevant. Until we can see from the omniscient point of view, asserting (like Pangloss) that this is the best of all possible worlds won’t really help us in the midst of tragedy. Kind of like the lame comfort, “it happened for a reason.” Unless you know the reason why bad things happen to you, the fact that there is a reason beyond your understanding isn’t really comforting.

Some have theorized that Candide can be seen as a sequel to the Adam and Eve story. In the beginning, Candide is cast out of the “terrestrial paradise” and begins to wander aimlessly. The Garden of Eden, of course, really was the best of all possible worlds (or at least that’s how it is set up to be…) and Pangloss plays the serpent, whose dalliance with Paquette gave Cunegonde and Candide the idea to try their hand at it, which is what ends up getting Candide expelled from the Castle. The theme of the Garden of Eden is revisited at the conclusion to Candide as well. It’s a totally plausible theory, in my humble opinion, and one that made me completely rethink the novel.

Popular legend has it that Candide was written in three days (though of course it really took much longer); it didn’t take me half as long to read it. It’s short and moves along quickly. I found it hard to put down…wondering what quip Voltaire was going to put in there next. Such as:

“After the earthquake had destroyed three-fourths of Lisbon, the sages of that country could think of no means more effectual to prevent utter ruin than to give the people a beautiful auto-da-fé; for it had been decided by the University of Coimbra, that the burning of a few people alive by a slow fire, and with great ceremony, is an infallible secret to hinder the earth from quaking.

"In consequence hereof, they had seized on a Biscayner, convicted of having married his godmother, and on two Portuguese, for rejecting the bacon which larded a chicken they were eating; after dinner, they came and secured Dr. Pangloss, and his disciple Candide, the one for speaking his mind, the other for having listened with an air of approbation…They marched in procession thus habited and heard a very pathetic sermon, followed by fine church music. Candide was whipped in cadence while they were singing; the Biscayner, and the two men who had refused to eat bacon, were burnt; and Pangloss was hanged, though that was not the custom.”

This novella’s most obvious comparison is Jonathan Swift, specifically Gulliver’s Travels, but I found Candide much more enjoyable. I had problems with Gulliver’s Travels, mostly because it is so interlaced with 18th century English politics that I just didn’t get it (though I did like when he wee'd on the castle). Candide’s satire is aimed at much more obvious targets…or at least targets I am more informed about than English politics. It also reminded me of Grimmelshausen’s Simplicius Simplicissimus, which I sort of read for a German cultures class in college.

I definitely enjoyed Candide, but I wish it hadn't taken me so long to get to it. I know I would have thought it was awesome when I was 18, and I'm sure I would have tortured my roommate even more than I already did by reading it out loud. Oh well, better late than never.

Monday, December 8, 2008

List-o-Phile Monday

Continuing the 1,001 Books list…here are the fifth group of 100 from the 1900s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it)

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
The third 100 of the 1900s
The fourth 100 of the 1900s
  1. Things Fall Apart – Chinua Achebe
  2. Saturday Night and Sunday Morning – Alan Sillitoe
  3. Mrs. ‘Arris Goes to Paris – Paul Gallico
  4. Borstal Boy – Brendan Behan
  5. The End of the Road – John Barth
  6. The Once and Future King – T.H. White
  7. The Bell – Iris Murdoch
  8. Jealousy – Alain Robbe-Grillet
  9. Voss – Patrick White
  10. The Midwich Cuckoos – John Wyndham
  11. Blue Noon – Georges Bataille
  12. Homo Faber – Max Frisch
  13. On the Road – Jack Kerouac
  14. Pnin – Vladimir Nabokov
  15. Doctor Zhivago – Boris Pasternak
  16. The Wonderful “O” – James Thurber
  17. Justine – Lawrence Durrell
  18. Giovanni’s Room – James Baldwin
  19. The Lonely Londoners – Sam Selvon
  20. The Roots of Heaven – Romain Gary
  21. Seize the Day – Saul Bellow
  22. The Floating Opera – John Barth
  23. The Lord of the Rings – J.R.R. Tolkien
  24. The Talented Mr. Ripley – Patricia Highsmith
  25. Lolita – Vladimir Nabokov
  26. A World of Love – Elizabeth Bowen
  27. The Trusting and the Maimed – James Plunkett
  28. The Quiet American – Graham Greene
  29. The Last Temptation of Christ – Nikos Kazantzákis
  30. The Recognitions – William Gaddis
  31. The Ragazzi – Pier Paulo Pasolini
  32. Bonjour Tristesse – Françoise Sagan
  33. I’m Not Stiller – Max Frisch
  34. Self Condemned – Wyndham Lewis
  35. The Story of O – Pauline Réage
  36. A Ghost at Noon – Alberto Moravia
  37. Lord of the Flies – William Golding
  38. Under the Net – Iris Murdoch
  39. The Go-Between – L.P. Hartley
  40. The Long Goodbye – Raymond Chandler
  41. The Unnamable – Samuel Beckett
  42. Watt – Samuel Beckett
  43. Lucky Jim – Kingsley Amis
  44. Junkie – William Burroughs
  45. The Adventures of Augie March – Saul Bellow
  46. Go Tell It on the Mountain – James Baldwin
  47. Casino Royale – Ian Fleming
  48. The Judge and His Hangman – Friedrich Dürrenmatt
  49. Invisible Man – Ralph Ellison
  50. The Old Man and the Sea – Ernest Hemingway
  51. Wise Blood – Flannery O’Connor
  52. The Killer Inside Me – Jim Thompson
  53. Memoirs of Hadrian – Marguerite Yourcenar
  54. Malone Dies – Samuel Beckett
  55. Day of the Triffids – John Wyndham
  56. Foundation – Isaac Asimov
  57. The Opposing Shore – Julien Gracq
  58. The Catcher in the Rye – J.D. Salinger
  59. The Rebel – Albert Camus
  60. Molloy – Samuel Beckett
  61. The End of the Affair – Graham Greene
  62. The Abbot C – Georges Bataille
  63. The Labyrinth of Solitude – Octavio Paz
  64. The Third Man – Graham Greene
  65. The 13 Clocks – James Thurber
  66. Gormenghast – Mervyn Peake
  67. The Grass is Singing – Doris Lessing
  68. I, Robot – Isaac Asimov
  69. The Moon and the Bonfires – Cesare Pavese
  70. The Garden Where the Brass Band Played – Simon Vestdijk
  71. Love in a Cold Climate – Nancy Mitford
  72. The Case of Comrade Tulayev – Victor Serge
  73. The Heat of the Day – Elizabeth Bowen
  74. Kingdom of This World – Alejo Carpentier
  75. The Man With the Golden Arm – Nelson Algren
  76. Nineteen Eighty-Four – George Orwell
  77. All About H. Hatterr – G.V. Desani
  78. Disobedience – Alberto Moravia
  79. Death Sentence – Maurice Blanchot
  80. The Heart of the Matter – Graham Greene
  81. Cry, the Beloved Country – Alan Paton
  82. Doctor Faustus – Thomas Mann
  83. The Victim – Saul Bellow
  84. Exercises in Style – Raymond Queneau
  85. If This Is a Man – Primo Levi
  86. Under the Volcano – Malcolm Lowry
  87. The Path to the Nest of Spiders – Italo Calvino
  88. The Plague – Albert Camus
  89. Back – Henry Green
  90. Titus Groan – Mervyn Peake
  91. The Bridge on the Drina – Ivo Andric
  92. Brideshead Revisited – Evelyn Waugh
  93. Animal Farm – George Orwell
  94. Cannery Row – John Steinbeck
  95. The Pursuit of Love – Nancy Mitford
  96. Loving – Henry Green
  97. Arcanum 17 – André Breton
  98. Christ Stopped at Eboli – Carlo Levi
  99. The Razor’s Edge – William Somerset Maugham
  100. Transit – Anna Seghers

Thursday, December 4, 2008

42nd Parallel

First, as an introduction to Dos Passos, who – if you are anything like I was until recently (and only because of my book list obsession) – you have never heard of, some quotes:

“[He’s] the greatest living writer of our time.” -Jean Paul Sartre, 1938

“Dos Passos came nearer than any of us to writing the Great American Novel, and it’s entirely possible he succeeded. I can only say, from my own point of view, that no novel I read while in college stimulated me more, astounded me more and showed me what a thrilling inner life was there for anyone gifted enough to be a major American novelist.” – Norman Mailer on Dos Passos’s U.S.A. Trilogy

Dos Passos created a “whole new school of writing.” - Sinclair Lewis, on Dos Passos’s Manhattan Transfer

One of the greatest pleasures of being a reader is not only discovering a hidden gem in a book, but finding a hidden gem in a new author…especially one that made you leery at first. I was not overly excited about John Dos Passos or his U.S.A. Trilogy. Even though basic research would/should have made me anticipate it with joy. A forgotten member of the Lost Generation? Contemporary and friend (sort of ) of Fitzgerald and Hemingway? This should have tipped me off. but instead, I was apprehensive about my ability to like Dos Passos. Somewhere along the line, he had become lumped in with Sinclair Lewis and Theodore Dreiser. Not that I don’t sometimes enjoy Lewis and Dreiser (Main Street was one of my favorite books I read this year). They can just be a little daunting sometimes.

And then, lo and behold, I very quickly learned that I was oh so wrong in my apprehension. 42nd Parallel, the first volume of the trilogy, turned out to be FABULOUS!

42nd Parallel, published in 1930, tells the story of five characters: Mac, Janey, Eleanor, Ward, and Charley, following them from all childhood until the beginning of America’s direct involvement in WWI. They’re all from different backgrounds, different places. Eventually they converge and begin to play parts in each others lives. They’re all trying to figure out where they fit in – where they fit in society, in the country, the new century, the political world - what their role could or should be. But it’s not a character study – Dos Passos isn’t trying to be Henry James and describe every minute detail…every motivation. It just goes – it moves…somewhere I saw Dos Passos’s writing described as “rapid-transit pace,” and that is an apt description.

Dos Passos calls his style "contemporary chronicle." The novel isn’t just these characters, and it’s not traditional narrative. The story of each is told intermittently from that characters point-of-view (but in the third person). This is interspersed with news headlines, song lyrics, biographies of famous or important people of the time, and what Dos Passos calls the “camera eye,” which I will post about later. And when I say biographies, I don’t mean, “so-and-so was born at this place, on this date, and here’s what he did.” Here’s two examples:

(From "The Electrical Wizard")

Edison was born in Milan, Ohio, in eighteen fortyseven;
Milan was a little town on the Huron River that for a while was the wheatshipping port for the whole Western Reserve; the railroads took away the carrying trade, the Edison family went up to Port Huron in Michigan to grow up with the country;
his father was a shinglemaker who puttered round with various small speculations; he dealt in grain and feed and lumber and built a wooden tower a hundred feet high; tourists and excursionists paid a quarter each to go up the tower and look at the view over Lake Huron and the St. Clair River and Sam Edison became a solid and respected citizen of Port Huron.

Thomas Edison only went to school for three months because the teacher thought he wasn't right bright. His mother taught him what she knew at home and read eighteenth century writers with him, Gibbon and Hume and Newton, and let him rig up a laboratory in the cellar.

Whenever he read about anything he went down cellar and tried it out.
When he was twelve he needed money to buy books and chemicals; he got a concession as a newsbutcher on the daily train from Detroit to Port Huron. In Detroit there as a public library and he read it...

He worked all day and all night tinkering with cogwheels and bits of copperwire and chemicals in bottles, whenever he thought of a device he tried it out. He made things work. He wasn't a mathematician. I can hire mathematicians but mathematicians can't hire me, he said.
In eighteen seventysix he moved to Menlo Park where he invented the carbon transmitter and made the telephone a commercial proposition, that made the microphone possible
he worked all day and all night and produced
the phonograph
the incandescent electric lamp

and systems of generation, distribution, regulation and measurement of electric current, sockets, switches, insulators, manholes. Edison worked out the first systems of electric light using a direct current and small unit lamps and the multiple arc that were installed in London Paris New York and Sunbury Pa., [YEAH SUNBURY!]
the threewire system
the magnetic ore separator,
an electric railway.

(I just had to make sure I included the part about Sunbury! It's friggin' awesome when you come from a small town without any nationally known import and then you come across it in a book of such importance.)

and from "Proteus"

In eighteen ninetytwo when Eichemeyer sold out the corporation that was to form General Electric, Steinmetz was entered in the contract along with other valuable apparatus. All his life Steinmetz was a piece of apparatus belonging to General Electric...
General Electric humored him, let him be a socialist, let him keep a greenhouseul of cactuses lit up by mercury lights, let him have alligators, talking crows and a gila monster for pets and the publicity department talked up the wizard, the medicine man who knew the symbols that opened all the doors of Ali Baba's cave...
Steinmetz was a famous magician and he talked to Edison tapping with the Morse code on Edison's knee
because Edison was so very deaf
and he went out West
to make speeches that nobody understood
and he talked to Bryan about God on a railroad train
and all the reporters stood round while he and Einstein
met face to face;
and but they couldn't catch what they said.

And Steinmetz was the most valuable piece of apparatus General Electric had
Until he wore out and died.

His narrative has a similar pace and rhythm as the biographies.

42nd Parallel is experimental and modern. You can see the coming generation of writers, and I was struck by the similartiy of cadence in Dos Passos as in Allen Ginsberg and Jack Kerouac. I don't know if Ginsberg read or was influenced by Dos Passos, but I can't imagine he wasn't. I know Kerouac was. He quotes U.S.A. Trilogy in his letters, and was reading Dos Passos (aloong with Dreiser, Wolfe and Sinclair Lewis) during the time he was outlining Dr. Sax. What I don’t understand is why, apart from my book lists, have I not heard of Dos Passos? Why isn’t he mentioned in school, in literary resources, along with Stein, Fitzgerald, Joyce, and Hemingway? Where did his reputation sour such that, while he was just as popular and important in the early 20th century as those others were, somehow he is now pretty much forgotten?

On average, I finish almost one book per week. Over the last 10 years, that means almost 500 books. Probably more than half of those are just ok. So far this year, I’ve read 53 books and looking at my list, less than 15 really stand out. So, to find a new author that really excites me…that’s what reading is all about. Jeanette Winterson, in one of her essays, says, “knowing that there are favorite books still to come is a continuing happiness.” That’s why I bother with book lists…for an increased chance to find those great authors. The chance that I would have picked up Dos Passos without his appearance on The Lists is probably relatively small. But I loved 42nd Parallel…I’m so glad I found it. I cannot wait to read the next two books in the trilogy, and his other work. A+ for this leading contender for the Great American Novel.

Tuesday, December 2, 2008

The Painted Veil

In 2007, I saw the movie The Painted Veil, based on the novel of the same name by W. Somerset Maugham. I also read Of Human Bondage, which is Maugham’s most famous book. I LOVED both of them. Then I read The Painted Veil, which was nothing like Of Human Bondage, and was very different from the movie.

I say different from the film, but it isn’t really. The plot is still mostly the same. Kitty is a twit. She’s a twit who lives in England, and likes to have a good time. But then along comes Walter Fane. She doesn’t like Walter – he bores her tremendously. But when he proposes, she accepts, mostly because she has already passed on a lot of better prospects. So, they get married and move to Hong Kong, where Walter is a bacteriologist. It doesn’t take Kitty long to find a boyfriend there – Charles Townsend. When Walter finds out, he gives Kitty a choice: accompany him to a cholera epidemic or get Charles to divorce his wife and marry her. Walter knows Charles is a cad and would never divorce his wife. So, Kitty has to go to the epidemic. While there, Kitty comes to see herself in a different light, mostly through her work at an orphanage with nuns. She realizes what a twit she is.

And this is where the book and the movie diverge. The movie is a sweeping love story: in the midst of the epidemic, Kitty finally falls in love with Walter. Kitty learns she is pregnant…it’s probably not Walter’s, but it doesn’t matter anymore. When he finally gets sick with cholera, she is there to help him, but he dies. A few years later, we see Kitty in England, where she runs into Charles. She has her little boy with her, whom she has named Charles. He hints at picking up their affair again, but she declines.

The book is very different on these points. She does learn that she is pregnant, and it’s still probably not Walter’s, but it does matter. Maugham makes it clear that it would have been easy to lie to Walter and say “of course it’s yours.” But she can’t do that anymore. In Maugham’s version, Kitty never comes to love Walter. Their hatred of each other does cool slightly, and Kitty comes to respect Walter, but she never loves him. Walter dies in the novel also, but Kitty isn’t there. She’s only told he’s been sick when he’s moments from dying, and though she begs him to forgive her for what she did, he only mutters gibberish about a dog. She returns to Hong Kong, where Charles Townsend and wife graciously offer to house and take care of her. How sweet. Mrs. Townsend has no idea her husband and Kitty had anything going, of course. Eventually, Charles gets Kitty alone, and she yields again to his advances. She feels so despicable at herself afterwards that she leaves in a few days to return to England. When she gets there she learns that her father (her mother has just died) is going to the Caribbean and she convinces him to take her along. She is determined to raise her child (she assumes it’s a girl) so that she doesn’t become a twit like Kitty was.

In the end of both, Kitty is a changed person, though how and why she changed is different. In the film, Kitty is changed mostly through Walter, through his forgiveness and love. You know – Titanic in China or something like that. In the book, Kitty is changed on her own – by her work in the orphanage and by realizing how stupid she was to fall for Townsend. She changes by seeing how utterly useless she has been in her life. I’m not sure which one I prefer.

As I mentioned before, this book was very different from Of Human Bondage, which was really long and very good. Not that The Painted Veil wasn’t good. It felt very modern…I think one could easily be convinced it was written by someone in 2008 – that it was a new book – rather than one that was written in 1925. Not that Of Human Bondage (published in 1915) felt dated – it’s just not a book stylistically or topically that I could be convinced had been written recently.

Overall, I’m still not sure how much I liked The Painted Veil. I definitely liked Of Human Bondage more, and I wasn’t as moved by the book as I was by the movie. It was a fair book of its own right, but comparatively I didn’t particularly care for it.

Monday, December 1, 2008

List-O-Phile Monday

Continuing the 1,001 Books list…here are the fourth group of 100 from the 1900s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it)

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
The third 100 of the 1900s

  1. Tent of Miracles – Jorge Amado
  2. Pricksongs and Descants – Robert Coover
  3. Blind Man With a Pistol – Chester Hines
  4. Slaughterhouse-five – Kurt Vonnegut, Jr.
  5. The French Lieutenant’s Woman – John Fowles
  6. The Green Man – Kingsley Amis
  7. Portnoy’s Complaint – Philip Roth
  8. The Godfather – Mario Puzo
  9. Ada – Vladimir Nabokov
  10. Them – Joyce Carol Oates
  11. A Void/Avoid – Georges Perec
  12. Eva Trout – Elizabeth Bowen
  13. Myra Breckinridge – Gore Vidal
  14. The Nice and the Good – Iris Murdoch
  15. Belle du Seigneur – Albert Cohen
  16. Cancer Ward – Aleksandr Isayevich Solzhenitsyn
  17. The First Circle – Aleksandr Isayevich Solzhenitsyn
  18. 2001: A Space Odyssey – Arthur C. Clarke
  19. Do Androids Dream of Electric Sheep? – Philip K. Dick
  20. Dark as the Grave Wherein My Friend is Laid – Malcolm Lowry
  21. The German Lesson – Siegfried Lenz
  22. In Watermelon Sugar – Richard Brautigan
  23. A Kestrel for a Knave – Barry Hines
  24. The Quest for Christa T. – Christa Wolf
  25. Chocky – John Wyndham
  26. The Electric Kool-Aid Acid Test – Tom Wolfe
  27. The Cubs and Other Stories – Mario Vargas Llosa
  28. One Hundred Years of Solitude - Gabriel García Márquez
  29. The Master and Margarita – Mikhail Bulgakov
  30. Pilgrimage – Dorothy Richardson
  31. The Joke – Milan Kundera
  32. No Laughing Matter – Angus Wilson
  33. The Third Policeman – Flann O’Brien
  34. A Man Asleep – Georges Perec
  35. The Birds Fall Down – Rebecca West
  36. Trawl – B.S. Johnson
  37. In Cold Blood – Truman Capote
  38. The Magus – John Fowles
  39. The Vice-Consul – Marguerite Duras
  40. Wide Sargasso Sea – Jean Rhys
  41. Giles Goat-Boy – John Barth
  42. The Crying of Lot 49 – Thomas Pynchon
  43. Things – Georges Perec
  44. The River Between – Ngugi wa Thiong’o
  45. August is a Wicked Month – Edna O’Brien
  46. God Bless You, Mr. Rosewater – Kurt Vonnegut
  47. Everything That Rises Must Converge – Flannery O’Connor
  48. The Passion According to G.H. – Clarice Lispector
  49. Sometimes a Great Notion – Ken Kesey
  50. Come Back, Dr. Caligari – Donald Bartholme
  51. Albert Angelo – B.S. Johnson
  52. Arrow of God – Chinua Achebe
  53. The Ravishing of Lol V. Stein – Marguerite Duras
  54. Herzog – Saul Bellow
  55. V. – Thomas Pynchon
  56. Cat’s Cradle – Kurt Vonnegut
  57. The Graduate – Charles Webb
  58. Manon des Sources – Marcel Pagnol
  59. The Spy Who Came in from the Cold – John Le Carré
  60. The Girls of Slender Means – Muriel Spark
  61. Inside Mr. Enderby – Anthony Burgess
  62. The Bell Jar – Sylvia Plath
  63. One Day in the Life of Ivan Denisovich – Aleksandr Isayevich Solzhenitsyn
  64. The Collector – John Fowles
  65. One Flew Over the Cuckoo’s Nest – Ken Kesey
  66. A Clockwork Orange – Anthony Burgess
  67. Pale Fire – Vladimir Nabokov
  68. The Drowned World – J.G. Ballard
  69. The Golden Notebook – Doris Lessing
  70. Labyrinths – Jorg Luis Borges
  71. Girl With Green Eyes – Edna O’Brien
  72. The Garden of the Finzi-Continis – Giorgio Bassani
  73. Stranger in a Strange Land – Robert Heinlein
  74. Franny and Zooey – J.D. Salinger
  75. A Severed Head – Iris Murdoch
  76. Faces in the Water – Janet Frame
  77. Solaris – Stanislaw Lem
  78. Cat and Mouse – Günter Grass
  79. The Prime of Miss Jean Brodie – Muriel Spark
  80. Catch-22 – Joseph Heller
  81. The Violent Bear it Away – Flannery O’Connor
  82. How It Is – Samuel Beckett
  83. Our Ancestors – Italo Calvino
  84. The Country Girls – Edna O’Brien
  85. To Kill a Mockingbird – Harper Lee
  86. Rabbit, Run – John Updike
  87. Promise at Dawn – Romain Gary
  88. Cider With Rosie – Laurie Lee
  89. Billy Liar – Keith Waterhouse
  90. Naked Lunch – William Burroughs
  91. The Tin Drum – Günter Grass
  92. Absolute Beginners – Colin MacInnes
  93. Henderson the Rain King – Saul Bellow
  94. Memento Mori – Muriel Spark
  95. Billiards at Half-Past Nine – Heinrich Böll
  96. Breakfast at Tiffany’s – Truman Capote
  97. The Leopard – Giuseppe Tomasi di Lampedusa
  98. Pluck the Bud and Destroy the Offspring – Kenzaburo Oe
  99. A Town Like Alice – Nevil Shute
  100. The Bitter Glass – Eilís Dillon

Sunday, November 30, 2008

Music of 42nd Parallel

Just finishing up Volume 1 of John Dos Passos's U.S.A. Trilogy: 42nd Parallel. Throughout the novel, there are two different interuptions in the story: Newsreels and Camera Eyes. In a future post I'll deal with the Camera Eye sections. The Newsreels are populated with actual newspaper headlines and stories along with lyrics from popular songs. Here are the songs from 42nd Parellel:
  • Newsreel I - "There's Many a Man Been Murdered in Luzon"
  • Newsreel II - "Alexander's Ragtime Band"
  • Newsreel III - "On the Banks of the Wabash, Far Away"
  • Newsreel IV - "My Alamo Love" (from The Tenderfoot)
  • Newsreel VI - “Moonlight Bay” written by Edward Madden & Percy Wenrich (who I am related to)
  • Newsreel VII - "Cheyenne," 1906, written by Harry Williams & Egbert Van Alstyne
  • Newsreel VIII - "Bury Me Not on the Lone Prairie"
  • Newsreel X - "Oh, You Beautiful Doll," 1911, written by Seymour Brown & Nat D. Ayer
  • Newsreel XI - “I’m Going to Maxim’s” (From Frank Lehár’s The Merry Widow)
  • Newsreel XII - “On the Banks of the Saskatchewan” written by C.M.S. McLellan & Ivan Caryll from The Pink Lady
  • Newsreel XIII - "I've Got Rings On My Fingers," 1909, written by Weston and Barnes & Maurice Scott; and "La Cucaracha"
  • Newsreel XIV - "Waiting For The Robert E. Lee," 1912
  • Newsreel XV - "There's A Girl in the Heart of Maryland," 1913, written by MacDonald & Carroll
  • Newsreel XVI - I couldn't find the song(s) mentioned in this newsreel. The lyrics are "I want to go to Mexico/Under the stars and stripes to fight the foe” and "And the ladies of the haren/Knew exactly how to wear ‘em/In oriental Bagdhad long ago.” This might be two songs, or it might be one.
  • Newsreel XVII - "The Curse of an Aching Heart"
  • Newsreel XVIII - "Its A Long Long Way To Tipperary," 1912, written by Jack Judge & Harry Williams
  • Newsreel XIX - "Over There," 1917, written by George M. Cohan

Wednesday, November 26, 2008

Call of the Wild

I’ll be honest: I have never been interested in the writings of Jack London. It’s probably because I have always viewed him as a boys writer. A boys writer of dog stories. And I don't like dogs. I know that’s unfair to London, as he did not exclusively write dog stories. But we all have our misconceptions about certain authors.

Anyhoo, Call of the Wild – it’s about a dog in the Klondike. And pretty much reinforces my thoughts about Jack London…and doesn’t leave with the desire to seek out more of his work. I don’t say that because I thought the story was bad, or because I thought the writing was bad. But it’s essentially an adventure story that is most suited to pre-teen boys.

Tuesday, November 25, 2008

Death in Venice

Death in Venice starts out slow. I was thinking – oh, it’s one of those art books. Nothing against art books, but I really wasn’t looking forward to spending 70 or so pages on aesthetics. Aschenbach is wandering around a cemetery and sees this guy in a straw hat and that makes him decide to take a trip to Venice. Whatever dude. But it is at his Venice hotel that he comes across Tadzio…a young Polish boy of 14 with whom he is instantly smitten. At first Aschenbach, a mid-50s-ish writer of some fame, tries to explain to himself that the attraction is merely because he is an artist, and the boy is beautiful. It’s obvious, however, that the attraction is more than to the boy’s aesthetics, though. Especially when he sits all day at the beach watching Tadzio play with the other kids and following him and his sisters through the streets of Venice. Aschenbach learns of that there is a cholera epidemic, the news of which is being suppressed by the police and the press, and decides to stay on in the city anyway in order to be near Tadzio.

The narrative captures that feeling of hypersensitivity at the beginning of attraction. When the boy enters the room, there’s the immediate electrical shock that runs through your body. There is the constant sensing of where the object is in relation to yourself, and even if you are not looking at them, you feel them there. Only issue is, of course, that this is about the attraction of a man in his 50s to a teenage boy.

Though they never speak to each other or have any contact, Aschenbach feels that Tadzio sanctions (I suppose is the word) the attraction. He knows he is being followed…he looks back and sees Aschenbach all the time. But Aschenbach sees Tadzio smile at him in those moments…which of course the older man interprets as if there were a secret between the two of them…that Tadzio is in on it to some extent.

"It was with a thrill of joy the older man perceived that the lad was not entirely unresponsive to all the tender notice lavished on him. For instance, what should move the lovely youth, nowadays when he descended to the beach, always to avoid the board walk behind the bathing-huts and saunter along the sand, passing Aschenbach's tent in front, sometimes so unnecessarily close as almost to grave his table or chair? Could the power of an emotion so beyond his own so draw, so fascinate its innocent object? Daily Aschenbach would wait for Tadzio. Then sometimes on his approach, he would pretend to be preoccupied and let the charmer pass unregarded by. But sometimes he looked up, and their glances met; when that happened both were profoundly serious. The elder's dignified and cultured mien let nothing appear of his inward state; but in Tadzio's eyes a question lay - he faltered in his step, gazed on the ground, then up again with that ineffably sweet look he had; and when he was past, something in his bearing seemed to say that only good breeding hindered him from turning round."


"Tadzio walked behind the others, he let them pass ahead in the narrow alleys, and as he sauntered slowly after, he would turn his head and assure himself with a glance of his strange, twilit grey eyes that his lover was still following. He saw him--and he did not betray him. The knowledge enraptured Aschenbach. Lured by those eyes, led on the leading-string of his own passion and folly, utterly lovesick, he stole upon the footsteps of his unseemly hope--and at the end found himself cheated."

The whole thing gave me the creepy feeling that Lolita gives me…it’s beautifully written, and you want to fall into the love story, but there is something very not right about it.

In the end, Aschenbach isn’t feeling well…obviously he has caught the cholera. He notices that bags are packed, and is told by the hotel staff that Tadzio’s family is leaving that day. Aschenbach goes out to the beach to watch him again. He believes that Tadzio is beckoning to him, inviting him outward into “the promising immensity of it all.” And then suddenly, Aschenbach dies.

Death in Venice has been voted by the folks at Triangle Publishing as THE greatest gay novel, beating out such heavy hitters as Baldwin, Proust, Genet, Woolf, Wilde, and Stein just to name a few others on the list. In the past, there has been a movement to ignore the gayness of the book, but in recent years that has changed, especially as certain biographical details about Thomas Mann and the inspiration for the novel have come to light. In Mann’s letters and diaries, it has become clear that he struggled with his own sexuality, and the story about an older man in Venice lusting after a young boy actually happened…Mann, his wife and his brother were staying in Venice in 1911 (the year before the novella was published) at the same hotel Aschenbach stayed at. It was there that Mann, age 36, became infatuated with Władysław Moes, an 11 year old Pole. I don’t know if he followed him around town, but he was definitely very attracted to the boy.

But Death in Venice – like most good literature – isn’t just about one thing. To see it purely as a gay novel, or as a “paradigmatic mast-text of homosexual eroticism” as author/critic Gilbert Adair called it, is to miss something greater in it…liked, as this articles says, seeing The Old Man and the Sea as just a novel about fishing.

I tried to find out whether there was controversy over this novella, but didn’t find any information to suggest that there was. Comparing this to Lolita, published 40 years or so later, I’m surprised there wasn’t outrage. But sometimes I think that we look back at the past with our puritanical American glasses and expect there to be outrage when there wasn’t.

This was my first encounter with Thomas Mann, though I’ve been meaning to read The Magic Mountain for years. I am very interested in author’s biographies, and Mann seems exceptionally interesting. He was known as a cold, calculating, self-absorbed man. He married his wife for her social status and is described as “oblivious” to his own children…two of them eventually committed suicide. Sounds like an crazy character, but one I’m glad I don’t know personally.

All in all, Death in Venice isn’t a bad little book. I don’t know that I would have felt that way if it had been longer. I wouldn’t say that I’m really looking forward to reading more of Mann’s works, but I’m dreading it either…I guess the jury’s still out.

Monday, November 24, 2008

List-o-Phile Monday

Continuing the 1,001 Books list…here are the third group of 100 from the 1900s (reverse chronological order). NOTE: on these posts, red (or a link) indicates that I've read it)

The 2000s
The first 100 of the 1900s
The second 100 of the 1900s
  1. A Boy’s Own Story – Edmund White
  2. The Color Purple – Alice Walker
  3. Wittgenstein’s Nephew – Thomas Bernhard
  4. A Pale View of the Hills – Kazuo Ishiguro
  5. Schindler’s List – Thomas Keneally
  6. The House of Spirits – Isabel Allende
  7. The Newton Letter – John Banville
  8. On the Black Hill – Bruce Chatwin
  9. Concrete – Thomas Bernhard
  10. The Names – Don Delillo
  11. Rabbit is Rich – John Updike
  12. Lanark: A Life in Fourt Books – Alasdair Gray
  13. The Comfort of Stragners – Ian McEwan
  14. July’s People – Nadine Gordimer
  15. Summer in Baden-Baden – Leonid Tsypkin
  16. Broken April – Ismail Kadare
  17. Waiting for the Barbarians – Salman Rushide
  18. Rites of Passage – William Golding
  19. Rituals – Cees Nooteboom
  20. Confederacy of Dunces – John Kennedy Toole
  21. City Primeval – Elmore Leonard
  22. The Name of the Rose – Umberto Eco
  23. The Book of Laughter and Forgetting – Milan Kundera
  24. Smiley’s People – John Le Carre
  25. Shikasta – Doris Lessing
  26. A Bend in the River - V.S. Naipaul
  27. Burger’s Duaghter – Nadine Gordimer
  28. The Safety Net – Heinrich Boll
  29. If On a Winter’s Night a Traveler – Heinrich Boll
  30. The Hitchhiker’s Guide to the Galaxy – Douglas Adams
  31. The Cement Garden – Ian McEwan
  32. The World According to Garp – John Irving
  33. Life: A User’s Manual – Georges Perec
  34. The Sea, the Sea – Iris Murdoch
  35. The Singapore Grip – J.G. Farrell
  36. Yes – Thomas Bernhard
  37. The Virgin in the Garden – A.S. Byatt
  38. In the Heart of the Country – J.M. Coetzee
  39. The Passion of the New Eve – Angela Carter
  40. Delta of Venus – Anais Nin
  41. The Shining – Stephen King
  42. Dispatches – Michael Herr
  43. Petals of Blood – Ngugi Wa Thiong’o
  44. Song of Solomon – Toni Morrison
  45. The Hour of the Star – Clarice Lispector
  46. The Left-Handed Woman – Peter Handke
  47. Ratner’s Star – Don Delillo
  48. The Public Burning – Robert Coover
  49. Interview with the Vampire – Anne Rice
  50. Cutter and Bone – Newton Thronburg
  51. Amateurs - Donald Barthelme
  52. Patterns of Childhood – Christa Wolf
  53. Autumn of the Patriarch – Gabriel Garcia Marquez
  54. W, or the Memory of Childhood – Georges Perec
  55. A Dance to the Music of Time – Anthony Powell
  56. Grimus – Salman Rushdie
  57. The Dead Father - Donald Barthelme
  58. Fatelessness – Imre Kertesz
  59. Willard and His Bowling Trophies – Richard Brautigan
  60. High Rise – J.G. Ballard
  61. Humboldt’s Gift – Saul Bellow
  62. Dead Babies – Martin Amis
  63. Correction – Thomas Bernhard
  64. Ragtime – E.L. Doctorow
  65. The Fan Man – William Kotzwinkle
  66. Dusklands – J.M. Coetzee
  67. The Lost Honor of Katharina Blum – Heinrich Boll
  68. Tinker Tailor Soldier Spy – John Le Carre
  69. Breakfast of Champions – Kurt Vonnegut
  70. Fear of Flying – Erica Jong
  71. A Question of Power – Bessie Head
  72. The Siege of Krishnapur – J.G. Farrell
  73. The Castle of Crossed Destinies – Italo Calvino
  74. Crash – J.G. Ballard
  75. The Honorary Council – Graham Greene
  76. Gravity’s Rainbow – Thomas Pynchon
  77. The Black Prince – Iris Murdoch
  78. Sula – Toni Morrison
  79. Invisible Cities – Italo Calvino
  80. The Breast – Philip Roth
  81. The Summer Book – Tove Jansson
  82. G – John Berger
  83. Surfacing – Margaret Atwood
  84. House Mother Normal – B.S.Johnson
  85. In A Free State – V.S. Naipaul
  86. The Book of Daniel – E. L. Doctorow
  87. Fear and Loathing in Las Vegas – Hunter S. Thompson
  88. Group Portrait with Lady – Heinrich Boll
  89. The Wild Boys – William Burroughs
  90. Rabbit Redux – John Updike
  91. The Sea of Fertility – Yukio Mishima
  92. The Driver’s Seat – Muriel Spark
  93. The Ogre – Michael Tournier
  94. The Bluest Eye – Toni Morrison
  95. Goalie’s Anxiety at the Penalty Kick – Peter Handke
  96. I Know Why the Caged Bird Sings – Maya Angelou
  97. Mercier et Camier - Samuel Beckett
  98. Troubles – J.G. Farrell
  99. Jarestage – Uwe Johnson
  100. The Atrocity Exhibition - J.G. Ballard