A new metric for writerly accomplishment

Perhaps this is really an old metric, but if so, it’s new to me because I noticed it today and am not aware of having read about it elsewhere. I suspect that the amount of carpal tunnel-style pain in my hands at the end of the day might be correlated with the amount of writing done. Although I have one of the world’s best computer workspaces, enough keyboard pounding will eventually make the bridge between my thumbs and fingers ache. I’ve learned to use both thumbs to hit the spacebar key, but even so, I favor the right, and it correspondingly bothers me more.

Aside from flattering my inner masochist, the “pain metric” has advantages over other measurement systems like word/page count or time spent (see Writers on Writing from the New York Times for thoughts on those methods) because it considers all that rewriting time as equivalent to new work. This metric also can’t be fulfilled by staring out the window all day. I suppose surfing the Internet might be a confounding factor, but I often disconnect distraction when I have real things to do, and so it shouldn’t provide too much interference.

The major project I’m working on isn’t for blog consumption, and it helps explain why posting has become weekly instead of closer to daily. Should it come to fruition, expect to hear more, and if not, then I guess this post, appropriately regarding pain, will be the primary marker of its existence.

New workspace

A year and a half ago, I uploaded a picture of my writing space. Things have changed, and Nigel Beale’s challenge inspires me to post another:

Notable features include an Aeron, the ultimate chair, ink bottles, a backup hard drive used with Time Machine, a gargantuan, wonderful iMac, and a Unicomp Customizer keyboard that inspired this rave—it’s now the most trafficked post on my site.

From Nigel’s blog I went to the Guardian and found out that Alain de Botton has an Aeron too, which obviously enhances the psychic connection established when I shook his hand and discussed Cooper Minis with him in Seattle. His fun novel Kiss & Tell was on my senior year AP English exam.

Notice also the ink bottles hiding between the lamp, book, and base of the computer. I have an anachronistic bend toward fountain pens, and these days I most often use an ink mix of Noodler’s luxury blue blended with Diamine Mediterranean Blue. Juxtaposing inks that Chaucer might have recognized with the computer he probably would not seems an appropriate homage to old and new.

I’d post bookshelves pictures too were my books not substantially packed in preparation for moving.

More on-line sanctioned ignorance: in defense of Tom Wolfe and others

James Wood wrote a typically fascinating piece to Nigel Beale defending “lifeness,” or sophisticated realism. As mentioned in my recent link post, it’s worth reading in full. I have to quote at length to set up my response:

It is perfectly possible to agree with Roland Barthes that realism is a set of codes and conventions (for all writing is a set of such codes, after all) and still try to defend that element in fiction — what I call “lifeness” — that eludes the nerveless grip of code. This is a defence both of that evanescence called ‘reality’ and of the artifice that makes it — and makes it up — and there is no contradiction in this doubleness: we read fiction with two eyes, as it were, one world-directed and one text-directed.

The review I just wrote about Joseph O’Neill’s superb novel,”Netherland,” in “The New Yorker,” praises the novel both for its deep and wise interest in life and lives, and for its high degree of artifice and style. That doubleness is entirely in keeping with my attacks on people like Tom Wolfe, John Irving, the more formulaic elements of John Updike, and so on, and in keeping with my praise, in essays and reviews, of writers like Cormac McCarthy (when he is not trying to write a genre thriller like “No Country for Old Men”), Saul Bellow, Roberto Bolano, Muriel Spark, Jose Saramago, W.G. Sebald, Philip Roth, Alan Hollinghurst, Milan Kundera, Norman Rush, V.S. Naipaul, Edward P. Jones, Michel Houellebecq, Anne Enright, David Means, Peter Carey, J.M. Coetzee, Bohumil Hrabal, Harold Brodkey (I was an early and pretty isolated English champion of Brodkey’s), not to mention earlier writers like Henry Green, Italo Svevo, Giovanni Verga, Knut Hamsun, J.F. Powers, and many others.

(Link added by me).

I see this in part as a facet of the long-running debate between whether one should understand the exterior world as reflective of the interior or whether the interior is perpetually hidden and most revealed through its own, psychological terms. This tension manifests itself in literary periods: the exterior world was more popular in the 18th Century with writers like Pope and Swift, and naturally lends itself to satire, while the Romantics brought acute focus back to the interior world through their poetry, while many of the modernists tried to reflect this shift to the inside through the shape of their prose itself. Some contemporary novelists think they’re doing one when they’re actually doing the other; although I hadn’t realized this at the time I wrote my review, it’s a malady Bridge of Sighs suffers from. And the greatest novels can go one way (Ulysses, I would argue, is radically interior) or find a middle path, as I think Bellow often does, but even he often veers interior, as in Henderson and Herzog, as opposed to the exterior-focused world of The Adventures of Augie March; I’m not sure where Ravelstein fits, but I take that subject up again later.

To be sure, some of these generalizations are overly broad, as they almost must be when describing grant literary trends. But some writers—like Tom Wolfe—can subvert the code they appear to be hewing to, and at his best in The Bonfire of the Vanities Wolfe accomplishes this and is a more sophisticated and better writer than many critics assume through his use of examining how the exterior reflects the interior. Being just slightly off makes him misfire completely: I Am Charlotte Simmons is a bad novel that parodies itself, and Wolfe’s symbolic and social purposes are utterly transparent, some of his details are wrong, and the whole effect falls apart. Wolfe has more lifeness than Wood credits him with, though perhaps not so much as some of the later writers on his list.

One way of avoiding the interior and exterior problem is to have a narrator observing someone else, thus allowing one to see the interiority of the narrator and the exteriority of the person being observed. I want to write a dissertation on what I call the nominal object or nominal subject, in which you have a first-person narrator observing another person who is the nominal object or subject of the story: think Ishmael and Ahab in Moby Dick, Carraway and Gatsby in The Great Gatsby, or Jack Burden and Willie Stark in All the King’s Men. All three novels exhibit what I think Wood means by “lifeness,” and although they don’t achieve exclusively that effect through this technique, it can, when used well, give a sense of interiority from the narrator and exteriority in the object. Ravelstein has the same technique, alone as far as I know in Bellow’s novels.

Which is right, the interior or exterior focus? I haven’t the slightest idea and suspect the answer is “neither,” but the debate’s terms are so often manifested in specific examples but not often stated in more general form. To me, novels that elude codes, ideologies, formulas, and other kinds of algorithmic writing—the ones that are truly novel—are the ones most worth reading, provided that they don’t try to evade codes merely to evade codes, but rather as a way of advancing the story, expanding our understanding of reality, and the like. This is the distinction I draw between someone like Bellow and someone like Alain Robbe-Grillet, who seemed interested in difference only for the sake of being different.

On writing in art museums

I’m not the only one who has apparently noticed the poor writing in many art museums. The Wall Street Journal writes:

When the show opened last month, artist and critic Carol Diehl blogged about the “impenetrable prose from the Whitney Biennial.” As examples, she offered “random quotes” about individual artists and their work taken from the exhibition’s wall texts and catalog. Among the gems:

• “. . . invents puzzles out of nonsequiturs to seek congruence in seemingly incongruous situations, whether visual or spatial . . . inhabits those interstitial spaces between understanding and confusion.”

• “Bove’s ‘settings’ draw on the style, and substance, of certain time-specific materials to resuscitate their referential possibilities, to pull them out of historical stasis and return them to active symbolic duty, where new adjacencies might reactivate latent meanings.”

Ms. Diehl’s complaint was quickly taken up by others. Richard Lacayo, on a Time magazine blog, likened reading the show’s introductory wall text (“Many of the projects . . . explore fluid communication structures and systems of exchange”) to “being smacked in the face with a spitball.” To combat such verbiage, he recommended banning five words long popular with critics that nonetheless say nothing: “interrogates,” “problematizes,” “references” (as a verb), “transgressive” and “inverts.”

This is nothing compared to the placards at the Experience Music Project in Seattle, which, at least when I visited two years ago, were so vapid as to make me wonder if they’d been written by a high school intern. I wish I’d kept some examples.

Predictably Irrational — Dan Ariely

One of the central tenets of economics is that we behave rationally, and yet much of what we see on a day-to-day basis defies rationality like some Modernists defy the conventions of plot. We become irrationally attached to concepts like “free,” even if something else is a better value, and our price preferences are relative: experiments in Dan Ariely’s Predictably Irrational show that we’re willing to forgo what seems to be a better deal just so we don’t have to risk even tiny amounts of money. These tendencies can be manipulated to some extent; Ariely says that the main lesson that could be distilled is that “we are pawns in a game whose forces we largely fail to comprehend.” I disagree with the chess metaphor, as it seems to deny us the will and ability we have to learn about the game and not move forward just one square at a time, but the thought it expresses is accurate, and throughout the book I could think of parallel examples to the ones Ariely gives. We don’t see the blindness in others as well as ourselves, and we become attached to prices, things or ideas.

I remember turning 21 and being able to drink legally for the first time and being shocked at the price of going to bars; parties in college and high school usually charged three to five dollars for a cup and as much beer as you could drink. Girls got in free. If the door guy raised the price from three to five, I would try negotiating and sometimes leave. If I came with a group of attractive girls, which wasn’t often, I’d sometimes get in free. In contrast, at bars five dollars only gets you the first beer; to be fair, however, that beer is usually of higher quality than keg beer. Nonetheless, the price increase of an evening out caused much consternation at first, but now I’ve acclimated to the idea that, although Ariely says “[…] first decisions resonate over a long sequence of decisions,” I also use anchoring points in my price expectation continuum. Now paying $15 to $20 at a bar seems normal and $5 at a party would seem cheap. These “anchors” can change over time and with context. If I went to New York or L.A., where trendy bars allegedly now charge $15 a drink, I’d be astonished. When I was a freshman in college and a New York club accidentally gave me a band that allowed me to drink even though I was 18, I was shocked at having to pay $10 per drink and consequently didn’t drink much, even when a 23-year-old girl wanted to get me to buy shots. Buying her shots isn’t a good idea for reasons Richard Feynman goes into in Surely You’re Joking, Mr. Feynman! Nonetheless, I’m wandering far afield from the central point, which is that original decisions about price can resonate powerfully over time and can be hard to change.

Ariely uses Starbucks versus Dunkin’ Donuts as an example: Dunkin’ Donuts coffee was and probably still is much less expensive than Starbucks and, I would argue, not much worse if it is at all, but Starbucks still manages to charge millions of people three or more dollars for various drinks. They can do so in part because they’ve changed expectation through decor, drink names, and the like. “Starbucks did everything in its power […] to make the experience feel different—so different that we would not use the prices at Dunkin’ Donuts as an anchor, but instead would be open to the new anchor that Starbucks was preparing for us.” In other words, Starbucks created a new anchor. This raises fundamental questions about the nature of things like supply and demand—or, as Ariely says, “As our experiments demonstrate, what consumers are willing to pay can easily be manipulated, and this means that consumers don’t in fact have a good handle of their own preferences and the prices they are willing to pay for different goods and experiences.” I agree to some extent, as I didn’t like paying extra money to go to bars and avoided it to the extent I could when I first turned 21, but now all my friends go and they’ve become the new norm. In the land of companies, Apple might be the best example of a company manipulating consumer expectations: only its operating system and industrial design separates it from other manufacturers, and yet it can get away with offering unusual machines and limited, premium product lineup.

I wonder if Ariely has read Trading Up: The New American Luxury, which describes how some companies are trying to harness these price point anchors—and redefine them. One point of Trading Up, however, is that the new or luxury products must have at least some technical advantage of what they replace. Starbucks does: it offered espresso drinks when, to my knowledge, they were not readily available at most places. Not surprisingly, the book also covers Apple and BMW. Apple offers a real technical advantage to me in the form of OS X, but you can’t buy a regular desktop tower and separate monitor. Where Apple does compete it offers hardware at prices similar to competitors, but you can’t get low-cost towers stripped of the computer equivalent of bells and whistles. In addition, this morning Apple released new versions of its MacBook and MacBook Pro laptops. The base-level MacBook is $1,100—or, thanks to Apple’s marketing, $1,099—but comes without a DVD burner, an extra gigabyte (GB) of RAM, and the extra 40 GB hard drive. Its processor is also slower. Given these drawbacks, it makes sense to buy the $1,300 version—but Apple’s website touts that the MacBook starts at $1,099. Yet buying the middle version is better, for resale value if no other reason. In doing so, the company might have differentiated itself enough to set new anchors for many consumers. And we either fall for it or make a rational choice, depending on one’s perspective.

Ariely doesn’t specifically cover Apple because he’s more interested in experiments where you have two things that are absolute equivalents, rather than OS X versus Windows. But I begin to see examples of some of his thinking in the world I see. There are limits to manipulation—I won’t pay $10 for coffee or $2,000 for any computer with the capabilities of a present-day MacBook. But I might pay marginally more for some products, like beer, depending on the setting and my age. In addition, product preferences change; in Ariely’s next chapter, “The cost of zero cost,” he describes how people will often take free even when it appears to be a better value to take money. He offered a $10 Amazon gift certificate for free or a $20 gift certificate for seven dollars. Buying the larger certificate nets more profit, but most people take the free one. To conventional economics, this would seem irrational, but for some people an Amazon gift certificate might not be of as much use as cash; they might not read much, or want to buy DVDs, and the like. In essence, I believe their demand is lower on the demand curve for Amazon products. I would take the $20 certificate because I buy too much from them already. In addition, he describes how Amazon’s free shipping policies can cause people to buy more than they would otherwise to reach the $25 free shipping threshold, but I often will add an extra book to reach it because I always have a backlog waiting. Not all those who act in response to Amazon’s offer act irrationally.

Still, the issues of Amazon gift certificates and free shipping are mostly nitpicks. My bigger question concerns some of his methods for generating data—many of the stories and anecdotes come from experimenting on convenient undergraduates at good Universities, who might not be representatives of the general population. Though he follows up many with experiments elsewhere, I’m still leery of drawing overly broad conclusions based on limited samples. In addition, how reliably can we extrapolate data from a limited number of people in artificial settings and then apply it to the bigger world? Posing the question is much easier than answering it, and to Ariely’s credit he has given us a framework for exploring the issue, while I throw popcorn from the sidelines and offer stories about drinking. But the issues are real, and there’s a perpetual danger of finding a correlation that works only to discover that some other variable drives the correlations or causes experiments to turn out as they do. Will our tendency to cheat and steal more when dealing with abstractions for cash rather than cash itself, as Ariely describes in “The context of our character, Part II,” really scale up to the level of Enron-style fraud? He makes a convincing case, but not one beyond all reasonable doubt, even if I can certainly agree that he meets the lower legal standard of a preponderance of the evidence.

And even if some of his conclusions make you go, “Really?”, his book is still fun to read. The chapters I discussed in-depth were just a small part of Predictably Irrational, and to give every chapter the same treatment would lead to a document almost as long as his book. But maybe I’m inclined to like his book more because Tim Harford recommend it (in addition, Ariely sent me an e-mail about my Harford post, and, as often happens with famous authors, I have a slight tendency towards being star-struck. But I can also admit that, perhaps alleviating some of its effects). In “The effect of expectations,” he describes experiments that show “When we believe beforehand that something will be good, therefore, it generally will be good—and when we think it will be bad, it will be bad.” He finds the influences go deep, and that signaling that an experience will be good can often make it good. Compare this, however, to Chris Matthews’ advice that one was better served by setting expectations low and exceeding them than setting them high and missing, even if the ultimate result was the same. He discussed politics, however, and Ariely is describing, well, something more domestic and more grand at the same time. I feel like there is a way to reconcile the views even if I have not found it yet, and it might speak to the depth of both writers that I have not been able to (incidentally, you should read Mattews’ Hardball).

Harford’s signal that this book will be good has an impact on the pleasure I derive from reading it, and I can’t help comparing The Logic of Life and Predictably Irrational, given their similar subject matter and proximity in both publishing date and my reading. Arguably, Harford is the better writer, with more journalistic zing, but this tendency also gets him into trouble: he jumps without transitions from idea to idea too often, and his chapters seem more loosely linked than Ariely’s. To be sure, both books are similar in that their chapters are more or less independent, but Ariely’s passes what I now call “the blog test” in that its content doesn’t seem to have been replicated on blogs and its form is not necessarily better suited to that medium. The buffet approach in Predictably Irrational by its nature lacks total coherence, but also allows one to skip chapters at will and not lose much. It also makes generalizing about an entire book more difficult, which is why I focused on particular chapters. The largest difference between The Logic of Life and Predictably Irrational is that the former makes the case for logic and rationality in a larger, social, macro sense, while the latter makes the case for irrationality in a smaller, individual, micro sense. And yet I can’t help but wonder if the latter approach supports the former approach, much the same way that the self-interest of capitalism might end up altruistically benefitting society on a large scale, or the way we might not be able to predict how an individual will act but can sometimes guess how large bodies of individuals turn out. Take two people with different SAT scores and you can’t know that one will do better than the other, but take 100,000 people with very different scores and you’ll know that most of the top group will outperform most of the bottom. So too, maybe, with Ariely’s Predictably Irrational on the small scale and Harford’s The Logic of Life on the larger. Both books also have a self-help aspect to them in that if you can understand your own weakness and how others will behave, you’ll be more likely to correct those weaknesses and exploit them in others. Of course, if enough people read both books, then their behavior could change en masse, leading to the books changing what they seek to measure, but this seems unlikely. Ariely knows about the issues with weakness, too: “[…] these results suggest that although almost everyone has problems with procrastination, those who recognize and admit their weakness are in a better position to utilize available tools for precommittment and by doing so, help themselves overcome it.”

Perhaps that is also true of readers of what I call, tongue-in-cheek, econ-for-dummies books.

Many of Ariely’s chapters are structured like this post: they tell a story, conduct an experiment, and then draw more general conclusions. The story could be a personal one from Ariely or drawn from another source. In my case, I tell a story, link it to Ariely’s experiments, and then draw a more general conclusion about his book and methods. Mostly, I suspect his book shows that we don’t really know what we want, which probably shouldn’t be a surprise given all the lonely hearts columns, uncertainty, regret, and the like we collectively experience. As such, it helps us better evaluate what we want and why we act the way we do, and that the book is fun to read helps as well. And it has enough substance to fuel more than 2,000 words of commentary and analysis.

NOTE: Ariely will be in Seattle tomorrow night, and I’ll be at Town Hall to hear him.For more about Ariely and behavioral economics, read What Was I Thinking? The latest reasoning about our irrational ways, an excellent New Yorker article, or this much shorter post on Marginal Revolution. Finally, the Economist’s Free Exchange has a very negative review that I think is wrong, as my comments above should illustrate. Its biggest complaint seems to be that Ariely doesn’t define what he means by rational, but if the writer missed that, I’m not sure he understood the book.For a descriptive but positive view, see The New York Times’ story, which is in the science rather than books section.EDIT: Dan Ariely’s visit was excellent, and I wrote about it here.

More on the long-predicted demise of reading

* Steve Jobs thinks reading is dead; Timothy Egan disagrees. If it’s dying, would it just hurry up?

* In the same vein: a paean to the departed past where civilization dwells. The Wonderful Past, redux.

* Philippa Gregory watches a novel with no literary merit anyway and still gets the Hollywood treatment. Compare to Philip Pullman, whose books have literary merit.

* Terry Teachout quoting T.S. Eliot. Compare and contrast to Richard Russo in Straight Man: “Virtually everybody in the English department has a half-written novel squirreled away in a desk drawer. I know this to be a fact because before they all started filing grievances against me, I was asked to read them. Sad little vessels all. Scuffy the Tugboat, lost and scared on the open sea. All elegantly written, all with the same artistic goal—to evidence a superior disposition.”

Away

I began reading Amy Bloom’s Away based primarily on recommendations: Carrie Frye’s, for example, which also conveniently links to positive reviews. I disagree with them: over 70 pages, Away didn’t capture my attention; I never cared about the main character, and while the writing was strong it was also pedestrian. Carrie says, “The novel was as psychologically acute as I expect from Bloom — as a writer, she is both so comprehending and tender about the human animal — but the prose seemed more charged than anything I’ve read of hers previously.” If Away is charged, I won’t be reading the others. A few sections of Away were funny, but not funny enough to sustain the whole, and next to a vastly more powerful novel like A Simple Plan, Away wilts. It’s being sold at a small loss at Amazon, and I’m on to whatever is next from the shelf, which will, I hope, provide more lasting pleasure. The time I might’ve allotted to it is gone, and part of my (early) New Year’s resolution is to not waste time on unworthy books when there are plenty of better ones.

(If you’re looking for something about the Jewish immigrant experience, try Henry Roth’s Call It Sleep, a superior if stranger novel.)

The Name of the Wind, The Daughter of the Empire, and Pulp Fantasy

In middle and early high school I read more pulp fantasy than I care to recall, which my Dad derisively referred to as “dragon books.” Most were terrible, and when I’ve picked some up more recently I’ve been aghast at the poor writing and haphazard plot. Patrick Rothfuss’ The Name of the Wind is as bad as Dragonlance, The Wheel of Time, The Sword of Truth, and the many of the others I used to read. To give some examples from The Name of the Wind: “The man cut him off with a sharp gesture,” whatever a sharp gesture is, and “[A sword] was deadly as a sharp stone beneath swift water.” Underwater stones are deadly? To who, besides writers struggling for metaphor? There are enough variations on “sharp” to whet every magic sword in the kingdom. Elsewhere, Kote’s head “[…] was bowed slightly, as if a great weight had settled onto him.” Chills get sent down spines. In addition to language problems, nothing actually happens in the first fifty pages, which also lack the jovial pleasure of the Shire.

Raymond Feist and Janny Wurts’ Daughter of the Empire is at least as bad and perhaps worse. Atrocities, adverbs and cliches abound: “Mara put on a brave face,” as no one has ever done before, this not long after her “cheeks burn with anger,” her “eyes narrowed,” and “her voice controlled fury.” Doubts plague, inner peace is sought, weight shifts, and after 30 pages of honor and ritual I’m ready for Woody Allen.

The low standards for writing and reviewing pulp fantasy novels are evident from pieces like this one from The Onion A.V. Club, which says, “Shelve The Name Of The Wind beside The Lord Of The Rings, The Deed Of Paksenarrion, and The Wheel Of Time—and look forward to the day when it’s mentioned in the same breath, perhaps as first among equals” (italics added). That day will never come. The Wheel of Time is written at a 12-year-old’s moral and intellectual level, and it dramatizes an immature adolescent’s view of sexuality. That The Name of the Wind received any good reviews, let alone a comparison to Tolkien, demonstrates the inadequacy of the competition to which fantasy novels are compared and the knowledge of some who review them. The Name of the Wind steals so much and so poorly from Tolkien that one should read the master and skip Robert Jordan. To explain how a series of novels as awful as The Wheel of Time comes to be, I’m forced to go back to Stephen King on Tolkien again:

A thousand pages of hobbits hasn’t been enough for three generations of post-World War II fantasy fans; even when you add in that clumsy, galumphing dirigible of an epilogue, The Silmarillion, it hasn’t been enough. Hence Terry Brooks, Piers Anthony, Robert Jordan, the questing rabbits of Watership Down, and half a hundred others. The writers of these books are creating the hobbits they still love and pine for; they are trying to bring Frodo and Sam back from the Grey Havens because Tolkien is not around to do it for them.

While the desire for Middle-Earth illuminates why The Wheel of Time was written, I can’t explain its popularity. The criticisms of The Name of the Wind and Daughter of the Empire both apply, and if I still owned The Wheel of Time novels I’d pick a page at random and find still more examples.

The worst part of someone reading these lousy novels is that some great modern fantasy novels exist: His Dark Materials and Ursula Le Guin’s Earthsea trilogy both qualify. Both are rich in language, plot and ideas, unlike the sloppy hackery from The Name of the Wind and Daughter of the Empire. They almost justify highbrow sneers about genre fiction, and I write about the two only as a reminder that good fantasy exists for those who care to find it. Too bad Feist, Wurts, and Rothfuss probably don’t understand the difference, and if they do, fail to show it in their writing.

Conversations with Robertson Davies

I’m tempted to summarize Conversations with Robertson Davies, a collection of interviews with the great author, but I can’t, and even if I could I’d probably do better to give a few thoughts stemming from a comment Davies made about reading. As you can probably surmise, I like Davies’s work, so I find his comments without a fictional scrim interesting too. One exchange particularly resonates:

Robert Fulford: Books are things to be studied, judged rather than experienced. I think you once said that the heresy of the critic is that he is a judge rather than experiencer of literature.
Davies: Yes. […] As for my own books, I hope that the readers will have to use their heads and be collaborators, which is a thing I stressed in that earlier book. They should be collaborators in creating the work of art which is the book.

I tend toward judgement, and my chief criterion for greatness is met when a book causes me to spontaneously stop judging and start experiencing. To be fair, I can’t fully stop judging, but to the extent that my reading becomes more experience and less judgment I am inclined to like and love the book that induces this sensation. The best of Davies’s books—The Deptford Trilogy, The Cornish Trilogy, The Cunning Man—all accomplish this goal. Cryptonomicon and Straight Man and Lord of the Rings achieve the same effect. I wish I could fully explain how and why they do, but part of writing about books is writing about the inexplicable. Criticism is an effort to reveal more of the mystery that can’t ever be fully revealed.

To intersperse Elmore Leonard:

[Q:] There’s this presumption that a book is somehow a higher form of art, of a higher form of expression, than a movie. Do you agree?
[Leonard:] I don’t think the book is a higher form at all. Because most books are not very good. They’re a chore to read.

Occasionally a worthwhile book is also a chore, but only very seldom, and usually because I don’t understand it at first, as I didn’t Romeo and Juliet when reading it as a high school freshman. Recently I described The Bad Girl with language that brings to mind duty. I think Davies felt similar to Leonard regarding bad books, or even books that aren’t essential (essential meaning different things to different people, of course, which might make the debate more a semantic than one getting at underlying truth). Elsewhere in Conversations, Davies recommends reading fewer books but reading them with more depth and feeling.

I hope to read with more depth and feeling, and part of the reason I write is to find both. Paul Graham explains the process well:

Expressing ideas helps to form them. Indeed, helps is far too weak a word. Most of what ends up in my essays I only thought of when I sat down to write them. That’s why I write them.

Wow! I started the post writing about Robertson Davies, but along the way became more interested in the diversions than the original topic. And that is a good thing: one idea bumps into another, reminding me of something else, and off I go. I hope that is reading with feeling and intellect. The Elegant Variation, in discussing the maladies affecting book reporting, says “Too many reviews are dull, workmanlike book reports.” I agree, and think that many books are dull and workmanlike, so perhaps the reviews reflect them. That’s why I felt a sense of wonder at Davies’ books, as well as Conversations: they are not dull and workmanlike, and I hope my writing isn’t. After reading Mark Sarvas’s comments, I’ve tried harder not to write dull, workmanlike book reports. Is it working?

I hope so. Davies wrote many reviews of varying quality, but he was also a man who knew good work when he saw it. Conversations is filled with criticism (in the bad sense) of academic criticism (in the sense of commentary). I’ve heard James Wood (a TEV favorite) and others I know I’ve read but can’t think to cite at the moment say or write the same. So here’s to them, and to Davies, and to reading, and to experience.

Writing space

Inspired by BlogLily, I took a picture of where I write. Unlike some, I haven’t cleaned up, so you’re seeing my desk au natural. Just to the left of my PowerBook is a stack of six books waiting to be written about and a few recent copies of The New Yorker, which further add to the chaos.

workspace2

While at Kate’s, I also noticed her typewriter post and sent her this e-mail (edited slightly):

I’m a bit younger than you and so do not remember a time without computers, and while I love the convenience of computers I also like the thrack-thrack-thrack typewriter noises and the key sensation. Some computer keyboards offered a similar tactile experience: the old-school IBM Model M and Apple Extended Keyboard II.

Both these have been replaced by soft-key keyboards, although independent companies have resurrected the older style. On the Windows side a Kentucky company sells the Customizer, and on the Mac side a Canadian company sells the Matias Tactile Pro. Like you, I also use a PowerBook, and I bought one of the (original) Tactile Pros and love it. The keyboard is ludicrously expensive, to be sure, and the noise annoys others if they have to share the same space, but it comes as close as you can get to the typewriter.

You can see the white Tactile Pro at the bottom of my desk.


EDIT: Things have changed since this was posted—see the new setup here.