* Reading this review of William Deresiewicz’s A Jane Austen Education is bizarre because it’s like reading about myself, right down to the love for Madame Bovary:
In 1990, William Deresiewicz was on his way to gaining a Ph.D. in English literature at Columbia University. Describing that time in the opening pages of his sharp, endearingly self-effacing new book, “A Jane Austen Education,” Deresiewicz explains that he faced one crucial obstacle. He loathed not just Jane Austen but the entire gang of 19th-century British novelists: Hardy, Dickens, Eliot . . . the lot.
At 26, Deresiewicz wasn’t experiencing the hatred born of surfeit that Mark Twain described when he told a friend, “Every time I read ‘Pride and Prejudice’ I want to dig her up and hit her over the skull with her own shinbone.” What Deresiewicz (who has considerable fun at the expense of his pompous younger self) was going through was the rebel phase in which Dostoyevsky rules Planet Gloom, that stage during which the best available image of marriage is a prison gate.
Sardonic students do not, as Deresiewicz points out, make suitable shrine-tenders for a female novelist whose books, while short on wedding scenes, never skimp on proposals. Emma Bovary fulfilled all the young scholar’s expectations of literary culture at its finest; Emma Woodhouse left him cold. “Her life,” he lamented, “was impossibly narrow.” Her story, such as it was, “seemed to consist of nothing more than a lot of chitchat among a bunch of commonplace characters in a country village.” Hypochondriacal Mr. Woodhouse, garrulous Miss Bates — weren’t these just the sort of bores Deresiewicz had spent his college years struggling to avoid? Maybe, he describes himself conceding, the sole redeeming feature of smug Miss Woodhouse was that she seemed to share his distaste for the dull society of Highbury.
The major difference is that I’m 27 and he describes himself at 26.
* A description of Facebook: “It seemed too much like tv, in reverse. Everybody transmits and nobody watches.” This is why I read Hacker News comments.
* Slate.com posted “The Longform.org Guide to the Porn Industry, which has a bunch of fascinating essays that are safe for work in the sense that they don’t have explicit photos on them. None are quite as good as David Foster Wallace’s “Big Red Sun” in Consider the Lobster, but that’s like accusing a basketball player of not being Michael Jordan. As I read the essays, I kept thinking of Philip K. Dick in some inchoate, ill-defined fashion—perhaps because he’s done so much to shape my thinking about reality and unreality.
Anyway, the next couple links stem from the Slate links:
* “Larry Flynt used to defend Hustler by calling the nude photo layouts “art.” I would come to joke that the porn video is indigenous Southern California folk art. The cheesy aesthetic — shag-carpet backdrops, tanning-salon chic, bad music, worse hairdos — and the everyman approach to exhibitionism are honest expressions of life in the land of mini-malls, vanity plates and instant stardom.” Evan Wright.
* “Those who enjoy whatever private pleasure is to be gained from receiving physical pain publicly would appear not to overlap at all with those who enjoy whatever private pleasure is to be gained from inflicting shame collectively.” From an article nominally about Sasha Grey and the porn industry, but really about expectations in cultural narratives of shame and redemption.
* “I’d call your right now, but I think you’re attending a retrograde ceremony for the artificial binding of two people in a legal contract regarding their sexual and financial behavior. I hope said ceremony at least has an open bar.”
* “Publishing—at least in general, and at least below the very top echelons of management—is not a fast-paced business, and the sense of urgency and desire for efficiency you might find in the offices of an investment bank or law firm don’t generally exist, simply because publishing doesn’t generally attract the sorts of people you often find in those fields.” This may bode ill for the future of the industry as it exists now.
* “I don’t know exactly what the future [of publishing] will look like, but I’m not too worried about it. This sort of change tends to create as many good things as it kills. Indeed, the really interesting question is not what will happen to existing forms, but what new forms will appear.”
* This is pretty funny: “A Game of Thrones” (the TV show) as a buddy comedy.