• Crunchy Cons

    crunchy-cons

    In Station Eleven, survivors of a global pandemic and subsequent post-apocalyptic chaos decamp to an abandoned airport in Michigan and eventually establish a Museum of Civilization, comprised of assorted artifacts from life before “year zero,” when the pandemic paralyzed the world and rendered much of the stuff that had comprised their lives useless. The Museum was a place of remembering — the old ways, the things they had once cared about — but also for preparation. Though the world of Station Eleven is dark and uncertain, if civilization were ever to rise again from catastrophe, the wares and wisdom held in the Museum, however haphazard and incomplete, would form the basis of renewal.

    This wonderful and trenchant book popped into my mind as I read a different but just as wonderful and trenchant book: Crunchy Cons by Rod Dreher. I’ve followed Rod’s blog for years, and read (and recommend) his memoir The Little Way of Ruthie Leming. Though Crunchy Cons was published in 2006, standing as the Republican Party now is before a dark abyss, ready to jump as soon as Donald J. Trump is named their nominee for president, Republicans need the Crunchy Con Manifesto more than ever.

    As a self-proclaimed social conservative, Dreher focuses his criticism and encouragement on his fellow conservatives and those under the Republican Party umbrella. But I couldn’t believe, as a moderate independent who tends to lean left but supports some small-c conservative principles, how much I was nodding along while reading this book. Anyone who doesn’t fit into tidy political molds or abide all the shibboleths of establishment Democrats or Republicans will feel at home with one of the topics Dreher spotlights, which include consumerism, food, home, education, the environment, and religion.

    The original subtitle lays out the thesis well: “How Birkenstocked Burkeans, gun-loving organic gardeners, evangelical free-range farmers, hip homeschooling mamas, right-wing nature lovers, and their diverse tribe of countercultural conservatives plan to save America (or at least the Republican Party).” Bombast aside, the juxtaposition of otherwise contrary stereotypes establishes the general sense of counterculture that pervades the book. Whether Dreher is talking to conservative homeschoolers or liberal organic farmers, their common refrain is a disillusionment or dissatisfaction with the status quo, with the cult of the bottom line and efficiency, or with how “everybody else” does things. It’s why Dreher can find more common ground with liberals on anti-consumerism than the free-trade fanatics in his own party, and why he feels more comfortable spending a little more for quality food at Whole Foods than get unethically produced cut-rate meat at the nearest SuperMegaMart.

    Take the chapter on Home, or more specifically houses and how their style and place can affect their owners’ lives. The McMansions and cookie-cutter homes littering suburbia may be efficiently built and ostensibly indicative of financial success, but as bland, soulless carbon copies they fall short on fostering hominess and familial integrity. (One guy in the book likens getting one to dating the prom queen with a drinking problem: it’ll start out nice but quickly sour when someone prettier comes along.)

    As an insecure teen I sometimes felt ashamed by my family’s simple, one-story house that wasn’t as big as some of my friends’ houses, that didn’t have its own rec room or backyard golf course or enormous kitchen. But in retrospect I’m glad for it, and glad my parents still live there, in a cozy house with character that they didn’t hastily buy with a bad mortgage and have to dump when the economy crashed. Despite my siblings and I having our own rooms, the more intimate size of the house allowed (or forced as it sometimes felt) us and my parents into closer proximity. It was harder to flee to our rooms and avoid each other. Obviously the size of one’s house doesn’t directly correlate with the quality of the family within it, but it does help create a culture — for good or for bad.

    Similarly, the choices we make about education can have profound effects on the quality of the upbringing of one’s kids. The Drehers are passionate about (and financially capable of) homeschooling their children for several reasons, the biggest one seeming to be that they’d rather take responsibility for their kids’ rearing than abdicating it to others:

    If you don’t educate your children for metaphysical truth and moral virtue, mainstream culture will do it for you. Absent shared commitment to these spiritual and moral verities, it is hard to see how we renew our families, our communities, and our country with an ethic of duty, self-restraint, stewardship, and putting the needs of people, not the state or corporations, first.

    Though I’m a proud public school kid, and made it through without the scars others have (and may still harbor), the idea of forming my own children, rather than letting the state and wider culture do it, makes more and more sense as the state of public education gets bleaker and less hospitable to anyone who deviates from state-sponsored directives.

    The same theory applies to religion. Though I didn’t go to a private religious school, those I know who did seemed to have an equal or even less chance of remaining in the faith as those who got their religious education solely from church. What matters most, I think, is the example that’s set by parents and the larger community, more than what is said or dictated. A kid whose parents set a positive example of marriage and life, who let their deeds speak for them rather than adopting a “Because I said so” strategy, will probably be much more likely to buy in to whatever religion or ideology they’re steeped in.

    Whatever it is, it has to mean something more than whatever the wider culture is providing. “A religion in which you can set your own terms amounts to self-worship,” writes Dreher. “It has no power to restrain, and little power to inspire or console in times of great suffering. No matter what religion you follow, unless you die to yourself — meaning submit to an authority greater than yourself — it will come to nothing.”

    Above all, according to Dreher, the crunchy con values authenticity: “In a world filled with the cheap, the flashy, the plastic, and the immediate, we hunger deeply for things that endure. We are the kind of people who long for the Permanent Things,” a phrase borrowed from Russell Kirk, the putative godfather of the crunchy con movement. The book Dreher is working on now concerns the “Benedict Option,” a model of community and cultural engagement (or lack thereof) for Christians who find the secular world increasingly hostile to people of faith. I suspect it will dovetail directly from the crunchy con impulse for smaller, enduring, and prudent living, and hope it will provide more practical wisdom for how to live out the crunchy con creed.

    My fool’s hope for the Republican Party is that whatever emerges from the rubble of the modern GOP will include Crunchy Cons as a foundational text. A party that supports families fully rather than sundering them, that protects rather than pillages the environment, that promotes prudence and virtue over consumption and the bottom line, that values humanity and the living over materialism and Mammon — that’s the kind of party I could join.

    But until then…


  • The Man In The High Castle

    Not long after we subscribed to Amazon Prime did I check out the pilot of The Man in the High Castle. I’d heard some good regard for the show, but didn’t think to seek it out until it was suddenly available to me. Boy am I glad I did.

    Set in 1962, the show exists in a world where fifteen years previous the Allies lost World War II, the U.S. was atom-bombed, occupied, and divided between Germany and Japan into the Greater German Reich (east of the Rockies) and Japanese Pacific States (west of the Rockies). Times Square is blanketed with swastikas (but no ads), Judaism has been outlawed, and with Hitler close to death the Japanese and German empires are bracing for war. Amidst the political and societal intrigue, the stories of the characters we follow orbit around the pursuit of mysterious film newsreels that show alternate histories of the war and its aftermath. The source of the reels, the unseen Man in the High Castle, seems to be head of a guerrilla resistance force trying to undermine the authoritarian states — for all we know.

    In addition to having one of the more haunting title sequences I’ve ever seen (above), the show blends three of my interests—historical counterfactuals, dystopia, and World War II—seamlessly into the background of a narrative arc that lets us see the inner workings of a tenuous alliance between the two Axis powers. The show is ingenious at working in small world-building details, either through dialogue or in the background—like when a Nazi police officer mentions offhand how the elderly are regularly euthanized and exterminated so as not to be a “burden on the State.”

    To me, the most interesting character of season one—and I can’t believe I’m saying this—is the Nazi. Rufus Sewell plays Obergruppenführer John Smith, a high-ranking SS officer charged with tracking down the remaining film reels and quelling the Resistance. Sewell’s icy, devilish demeanor, mixed with his character’s white-picket-fence, all-American (or rather all-German) lifestyle, provides ample ground for a fascinating character study. Frank (Rupert Evans) is another intriguing character: a downtrodden laborer concealing his Jewish identity who gets tangled up with the newsreels and has to make some brutal decisions after being imprisoned by the Japanese military police.

    What I love about counterfactuals is pondering the questions they conjure. Is there anything better about this show’s reality than ours? What does ours share in common with it, and how it is vastly different? It also made me better sympathize with societies that have been occupied, subjugated, and made to accept a new culture. Americans have never experienced that; in fact, throughout history we’ve always been the occupiers and the subjugators, imposing our values and military might in other lands under the banner of liberty. Optimists will say our actions were justified for the sake of spreading democracy, but realists know otherwise. Of course, I’m not equating U.S. foreign policy to the Nazi and Japanese empires in The Man in the High Castle. But I am inspired to decide how and why America is different.

    It’s a dark show, no doubt about it. But after some key points in the first few episodes, the gears propel toward a climax and the next season’s continuation that I’m really looking forward to.

    (Also, I had no idea how much of the show was CGI-generated, which this video illustrates; I really couldn’t tell while watching it, and even wondered how they got away with displaying so much Nazi paraphernalia.)


  • Grover It

    “To hell with Grover Norquist. I don’t care about Grover Norquist. Give me a break.”

    Jefferson Parish Sheriff Newell Normand, Republican

    That’s one Republican seeing the light. Any others?

    (h/t Rod Dreher)


  • Wendell Berry: Coming Soon to a Screen

    Hat-tip to Rod Dreher for spotlighting The Seer, an upcoming documentary on Wendell Berry that counts Nick Offerman, Terrence Malick, and Robert Redford as backers. The filmmaker Laura Dunn has worked for years to bring the film to life, and now has a Kickstarter campaign to fund the remaining post-production costs. It’s due to premiere at SXSW, suddenly making me wish I could be there.

    Filmed in and around Henry County, Kentucky, the documentary features original audio interviews with Wendell and on-camera interviews with members of his family and community:

    When we first began corresponding about the possibility of a documentary, Wendell made clear that he does not regard screens of any kind and that he has declined to participate in films for decades.

    This might have been the end of the matter, but for our team, it prompted reflection. Rather than make a “front lit” portrait of the man, could we use the film medium to subvert biopic conventions and instead immerse you in the world of Wendell Berry? Could we draw a portrait of a man in a way that understands the individual as simply a function of his place and the people around him? Rather than lens the way the world sees Wendell Berry, let us imagine the way Wendell Berry sees the world.

    Cannot wait to see this, and to contribute to the Kickstarter. Berry’s “A Homecoming” was read at our wedding, and Hannah Coulter and Life Is A Miracle are in my upper echelon of all-time books. I hope this film gets into theaters, DVD, or VOD as soon as possible.


  • How to Win My Vote

    south-park-vote

    My first presidential vote was in 2008 for Barack Obama. It’s a vote I will never regret, despite the mixed results of the Obama administration. But in 2012 I didn’t vote to re-elect Obama, despite being generally supportive of his presidency and against the prospect of Mitt Romney. I voted for the libertarian candidate Gary Johnson—largely for the reasons Conor Friedersdorf laid down at the time—and wrote-in my deceased grandfather for some of the smaller offices.

    All this to say: winning my vote in 2016 has become an uphill battle for the major parties. The specter of Hillary Clinton from the Democrats and (*vomits*) Donald Trump from the Republicans has further galvanized my already enhanced reluctance to vote for either corrupt, craven, duplicitous party.

    Being a resident of a solid-blue state, my vote won’t count for much come November. But here are my (non-exhaustive) conditions for each party if they want it. I await their thoughtful reconsideration of misguided priorities having to pick between a douche and a turd.

    Republicans

    Stop clinging to your guns. I’m a hunter; I get it. I’ve shot and killed deer and ducks, and felt the awesome power of a gun’s blast. To a certain type of person it’s intoxicating. But saying “guns don’t kill people; people kill people” completely misses the point, which is that people are dying needlessly and at a historical rate because of them. Your Baracknophobic obsession with owning guns and proselytizing for them has become pathological. You’ve lost touch with reality, which is that literally the only purpose of a gun is destruction. This reality supersedes the cultic devotion you’ve imbued in the Constitution, which believe it or not has not existed forever and was not chiseled into stone on Mount Sinai. Besides, the Second Amendment is a gun-control amendment.

    And religion. America is not a Christian nation. I say that having been a Christian all my life, one who’s frustrated with the corporatization of religion and unjust wielding of power from the pulpit. You’re not helping people of faith by crying martyr and holding hands with Kim Davis. And you actively hurt people of other faiths or no faith at all, who are citizens deserving just as much representation as you do. I strongly support religious liberty and gladly practice it, while at the same time acknowledging that other religious people around the world experience actual life-threatening religious discrimination.

    Start actually, you know, conserving. Treating the earth like a garbage dump is not conservatism. Laughing at climate science is not conservatism. Bowing down to the Koch brothers is not conservatism. How about let’s just work on those three things before moving on to advanced concepts like “Oil is not a renewable resource” and “Snow does not prove global warming is a hoax.”

    Acknowledge that black lives matter. “But all lives matter!” Yeah, no. Maybe in your utopian dreams. In reality, where deeds matter a whole lot more than words, black lives have been enslaved, oppressed, incarcerated, ignored, and killed a whole lot more than others. The first step to changing this is admitting that’s a problem.

    Don’t nominate Donald Trump. Which is a sentence that in saner times would seem self-evident, but alas. I started writing this post in the summer of 2015, when the campaign was still young and uncertain and when Trump seemed like a fad scripted by late-night comedy shows that would eventually burn out. Now here we are in March and Trump has the Republicans by their Grand Old Parts. Part of me wants him to get the nod, just so he can push the red button on the GOP implosion and hopefully begin the process of restoring the party to something resembling respectable. But if we’re looking at the big picture, having a short-fingered vulgarian in the Oval Office would most decidedly not make America great again.

    Democrats

    At least pretend like abortions are bad. Because they are. Regardless of the circumstances that lead to the pregnancy, abortion is the gruesome slaying of a nascent life. Trying to defund Planned Parenthood is a stupid, short-sighted gambit by the Republicans, but the spirit behind it isn’t. Stop treating abortion as if it’s like ordering a latte and maybe its opponents won’t have to make such desperate, futile, attention-seeking ploys to stop it altogether.

    Stop treating religious people like they’re all Sarah Palin. Because they aren’t. Dan Savage likes to call quiet, non-polemic religious folk NALTs, as in “Not All Like That”—like the Palins and Cruzes and Santorums of the world, who lack any discernible shade of grey in their worldview. To the skeptical outsider, a global religion like Christianity may look like one big blurry ball of bigoted buffoons; but anyone who assumes that, and can’t or won’t see the spectrum within, isn’t qualified to say so.

    Put down your pitchforks. Jon Ronson’s So You’ve Been Publicly Shamed is a great primer on the internet’s outrage-industrial complex and the irony of low tolerance among well-intentioned liberals who preach tolerance themselves. However sympathetic I am to historically oppressed people getting a voice, I cannot get behind any ideology prone to stridency and self-seriousness. Take a breath, and stop tar-and-feathering technocrats and small-town pizzerias.

    Acknowledge that police lives matter. I wouldn’t want to be a cop; would you? Every one of those police shooting videos sickens me, and I almost always sympathize with whoever was the victim of overreaching power. But I never forget how fraught with danger the lives of law enforcement are, that they chose to be the person called when something bad could be happening. Please: let’s get the bad ones off the street and restrict their use of deadly force, but never forget their humanity.

    Don’t nominate Hillary Clinton. I’d love to vote for a female president. Just not this female. Sure, she’s qualified and acts the part: like everyone, I loved watching her own the Republicans during the Benghazi circus of cynicism hearings and imagine we’d see a lot of that Hillary during her presidency. But that’s the problem: I prefer presidents whose lives aren’t telenovela-level public dramas, and have at least a few core beliefs they stick with even when it’s inconvenient. To paraphrase the musical Hamilton: when all is said and all is done, Sanders has beliefs; Clinton has none. (And no, I don’t “feel the Bern”… I just don’t want to climb the Hill.)


  • Better Living Through Criticism

    better-living

    I’ve been a fan of A.O. Scott since his too-short time co-hosting At the Movies with Michael Phillips, which was my favorite post-Ebert iteration of the show. Their tenure was a salve after the brief and forgettable stint of Ben Lyons and Ben Mankiewicz. Phillips and Scott brought a benevolent wonkiness to the show I greatly enjoyed and mourned when it was axed.

    So I was quite pleased to read A.O. Scott’s new book Better Living Through Criticism: How to Think about Art, Pleasure, Beauty, and Truth, which is not as self-helpy as it sounds, mercifully. In fact, it’s nearly the opposite of self-help, a genre hell-bent on offering surefire prescriptions for every psychological impediment blocking our true greatness within. Scott is far less strident. He avoids making grand declarations about The Purpose of Criticism, much to the chagrin of grand declarers. All the better. To me, criticism is not about conquering artistic foes or achieving certainty, but about making sense of what goes on inside our heads and hearts when we encounter something beautiful, pleasurable, or truthful — or all (or none) of the above.

    The book ambles towards answers to the pointed questions I’m sure Scott receives often: What are critics for? Are critics relevant anymore? One purpose for critics he lands on is to be people “whose interest can help to activate the interest of others.” This is absolutely true, as is its inverse of steering others away. Many movies that I expected to be worthwhile ended up being duds, and the critical consensus that bubbled up before their opening weekends helped convince me to wait for the Redbox or to avoid them altogether.

    Conversely, without Bilge Ebiri’s incessant cheerleading for The LEGO Movie before it came out in early 2014, I would have assumed it was another cheap kids movie and not a hilarious and surprisingly profound meditation on creativity and identity. Ditto Brooklyn, which I expected to be another overwrought, Oscar-baity period drama but in fact nearly brought this non-crier-at-movies to tears. Critics matter, even when I disagree with them (*cough* Carol *cough*).

    Scott also feels duty-bound as a critic “to redirect enthusiasm, to call attention to what might otherwise be ignored or undervalued. In either instance, though, whether we’re cheerleading or calling bullshit, our assessment has to proceed from a sincere and serious commitment.” The calling attention to is big: a recent example is last year’s Tangerine, a tiny indie I wouldn’t have given a chance without wide and persistent acclaim from the bevy of critics I admire and follow just so I can get scoops like that.

    “Redirecting enthusiasm” might also be considered a challenge to “swim upstream”: to seek out the earlier, influential works that laid the groundwork for whatever we’re watching, listening to, reading now. American culture’s on-demand, presentist bias deprives us of decades of good art, whose only crime is not being made right this live-tweetable second. The critic who compares a new film to an older one, favorably or otherwise, provides context for readers but also a tacit clue that checking out that older film might be worthwhile. The upside of our appified age is that finding those forgotten gems has never been easier: getting upstream is as easy as visiting your local library, Amazon, or streaming service.

    But what I consider the most compelling reason for the critic’s job might be their most self-interested one. Scott quotes the ever-quotable critic H.L. Mencken, who wrote the motive of the critic who is really worth reading is “no more and no less than the simple desire to function freely and beautifully, to give outward and objective form to ideas that bubble inwardly and have a fascinating lure in them, to get rid of them dramatically and make an articulate noise in the world.”

    The process of making an articulate noise about something is the point, I think. It’s where a writer lives most of the time, engaging in a back-and-forth with the work and with himself until he lands on something approximating the truth of his experience. To that end, Scott writes, the history of criticism is the history of struggle. This book embodies that struggle literally: Scott engages in four interstitial dialogues, wherein he banters with an unnamed interlocutor (or inner critic?) who could also stand in as the aggrieved audience, demanding that Scott justify his existence.

    I know this combat comes with the job, but the hostility critics in general receive baffles me. There’s way too much out there to see, read, and hear for one person to sort through. “This state of wondering paralysis cries out for criticism,” he writes, “which promises to sort through the glut, to assist in the formation of choices, to act as gatekeeper to our besieged sensoria.” Having professional curators with unique, informed, and enthusiastic taste is a good thing, not something to scoff at or claim is irrelevant in the age of Rotten Tomatoes.

    But if you think a critic is wrong and want to tell him why, congratulations! You’re now a critic and are obligated to say more.

    Anyway, good on Scott for driving this conversation, and for holding his ground against Samuel L. Jackson.


  • Typewriter Files: 1960 Smith Corona Electra 12

    sc-electra12-1.jpg

    This might be my prettiest machine. I found it not long after I read The Typewriter Revolution (which set me off on this maniacal hobby in the first place) in a cardboard box for an AT&T electric typewriter at a Goodwill. It was marked $5, either because it didn’t have its original case, or no one actually looked in the box and assumed it was a most unsexy ’80s electric typewriter, or whoever set the price wasn’t a Smith Corona fan.

    Overall it was in great shape. A steady electric hum accompanied the crisp and quick clattering of the typebars. But the lowercase and uppercase letters were misaligned, and the motor that powered the typing would periodically shut down before eventually crapping out for good. Also the second “c” in Electric on the front decal was chipped off:

    sc-electra12-2.jpg

    I gave an amateur’s shot at fixing the alignment, to no avail, and I knew I couldn’t fix the motor on my own. So, because it was such a beauty, and because of the circumstances of its acquisition, I decided to bring it in to one of the few remaining repair shops in Chicagoland to see if it could be rehabilitated. A few weeks later I got it back: the motor ran smoothly and the letters typed true, and on a brand-new ribbon. The grimy keys cleaned up nicely too.

    Haven’t been able to find much info on this specific model. (Mine is currently the only Electra 12 on the Typewriter Database.) With a serial number starting 5LE, it’s a slight variation on the Smith Corona Electric Portable 5TEs, though what their differences are I’m not sure. I see the extended 12″ carriage on other portables; honestly I think it looks a bit awkward compared to the carriages that fit the width of their bodies.

    But I’m happy to have this one, and have used it for a few morning writing sessions already. It’s an awkward carry without a handled case, so I’m actively looking for one at a decent price. It fits perfectly into my Classic 12’s case, so if I could fit another cheap Smith Corona along those lines that I could use for parts, I’d be golden.

    To the hunt!


  • Been Reviewing

    Happy to report that two of my most recent reviews for Library Journal are now online. I wrote about Edward Lengel’s First Entrepreneur: How George Washington Built His—and the Nation’s—Prosperity and Charles Rappleye’s Herbert Hoover in the White House: The Ordeal of the Presidency. The former is already out, and the Herbert Hoover biography, which I gave a “starred” review, comes out in May.

    My first two reviews are also up, but paywalled: Breaking the Chains of Gravity: The Story of Spaceflight Before NASA by Amy Shira Teitel here and Industries of the Future by Alec Ross here, which is for Booklist.

    Reviewing for two publications at once has been fun but strange. Sometimes I’ll have several books at once and have to power through them, and other times I’ll have just one looming in the distance, giving me some time for personal reading. The reviews are only 175-200 words, though, so they are easier to get through than the essay-like reviews in the New York Times et al. Then again, summarizing hundreds of pages in what is basically a solid paragraph can be challenging, especially when I have strong opinions (good or bad) or the book covers so much ground. Then, once I’ve submitted the review, I can’t really discuss it with anyone because it’s not released yet, and I can’t post my review because it’s for the publication.

    Anyway, it’s been a fun gig thus far. Thanks to LJ and Booklist for the opportunity.


  • Refer Madness: England Murder Bicycle Chemistry

    rm

    Refer Madness spotlights strange, intriguing, or otherwise noteworthy questions I encounter at the library reference desk.

    During an otherwise quiet evening on the desk, someone messaged my co-librarian on our library’s chat service with a specific, but not quite specific enough, request. She wanted the title and author of a book in a murder mystery series, published post-2000. She then provided a some 200-word synopsis of the plots and characters in the series, which involved a young girl in rural postwar England who solves crimes in her village “using her bicycle and chemistry skills.”

    She’d tried book-related listservs and message boards, to no avail. Since our go-to fiction RA librarian was gone for the evening, we were on our own. But not quite alone: I jaunted over to NoveList Plus, that magical database beloved by librarians and bookish folks everywhere, and entered keywords from the patron’s description—and which serve as this post’s title.

    Boom. First result:

    sweetness-pie.png

    The Sweetness at the Bottom of the Pie is the first of five books in Alan Bradley’s Flavia De Luce mysteries series. Since NoveList’s plot description was surprisingly sparse, and I wanted to make sure I got the right book in the series, I cross-checked it with its Amazon page and sure enough, NoveList was right on target.

    Putting the same search terms into Google yields nothing close to what I was looking for. Google can do many other things well, but its wide generalist’s net can miss what a targeted niche search like NoveList will catch every time.

    Which, of course, reminds me of the Neil Gaiman quote you can find on every corner of the librarian internet: “In a world where Google can bring you back 100,000 answers [or in this case 6 million], a librarian can bring you back the right one.”

    Thanks to the life-changing magic of NoveList, we got it right tonight.


  • Adventures in Logbooking

    Looking at my logbook, I noticed that I recently had a string of four starred books or movies in a row, the longest streak yet. (It would have been five in a row had I seen Brooklyn before Love & Mercy, which I liked a lot but not star-liked.)

    749Typewriter Revolution, TheRichard Poltbook20152015Dec
    748TangerineSean S. Bakerfilm20152015Dec
    747CreedRyan Cooglerfilm20152015Dec
    746Winter: Notes from MontanaRick Bassbook19912015Dec

    That’s only the second time that’s happened since I started keeping track in 2010. The other was in December 2010:

    208Social Network, TheDavid Fincherfilm20102010Dec
    207True GritJoel and Ethan Coenfilm20102010Dec
    206Fighter, TheDavid O. Russellfilm20102010Dec
    205Black SwanDarren Aronofskyfilm20102010Dec

    All four of those films from 2010 made my best-of list that year, and yet I haven’t rewatched any of them besides The Social Network, so I couldn’t say whether they would still remain on my Best of 2010 list if I were to make a new one these five years later. Likewise, Creed and The Typewriter Revolution will make my 2015 lists (with Tangerine just missing the cut), but time will tell if they’ll stay there.

    My criteria for earning a star are as diverse as the logbook itself, but my basic interpretation is whether that book or film could end up on my best-of list from whichever year it was made. So both of these streaks could be considered flukes given the inherent subjectivity of star-giving. On the other hand, that both occurred in December makes sense given the abundance of higher quality films in the thick of Oscar season.

    With its mix of books and movies, old and new, the 2015 streak seems more unlikely—a conglomeration of providence and serendipity. I’m sure if I were to reread and rematch every movie and book on my list some would lose stars and some would gain them, so I won’t put too much stock in what’s essentially an anomaly. But that’s why I’m glad I started this logging practice: to document a fairly large part of my life, and to catch my first impressions and see how they fare in retrospect.

    Still, I found it interesting enough to write a post about, so I have that going for me, which is nice.


  • Not Fine: On Library Amnesty

    Chicago Public Library is embarking on a fine amnesty drive this month. The last one seemed to work really well for everyone:

    The library reported receiving 101,301 overdue items, valued at about $2 million, and waived $641,820 worth of fines. The late materials ranged from items only a few weeks overdue to one book that had been due since 1934.

    It’s really great that past amnesty programs worked out well for CPL, and I assume for other libraries that do them. Getting that material back benefits everyone, and the uncollected fine money probably won’t make much of a dent since fine revenue is usually a pittance in most public library budgets.

    But I’m of two minds on this.

    On the One Hand…

    If you’ve got overdue fines or books, just suck it up and return them. I promise you the librarians will love to have you back. Your guilt will be assuaged and you won’t feel like a scofflaw when you come to the library to browse. (Also maybe don’t ignore the emails and calls reminding you your items are due soon. Someone could be on the hold list for that book or DVD, so just pull an Atticus Finch and imagine how it would feel to be that person.)

    On the Other Hand…

    If CPL or any other library wants to engender goodwill among patrons and get their material back, they should abolish overdue fines altogether and just bill the patron for a “presumed lost” book or lock their account after a certain amount of time, as many libraries have done.

    giphy.gif

    I’m just a measly librarian with no power over budgets (and who doesn’t speak for his employers, past, present, or future), so woe unto me for dictating policy. But I don’t want for library staff to be high priests, absolving the masses of their bookish sins for a few weeks every couple of years. The public already owns the collection, technically. Nickel-and-diming patrons for what is largely just forgetfulness is what has earned librarians the stereotype of the shushing curmudgeon sitting upon their Reference Throne.

    Librarians are stewards of the collection, not owners. Part of that stewardship involves ensuring fair access to material for all patrons, which is why libraries use fines. But the biggest collection in the world won’t be used to its greatest extent if its patrons are hesitant to check things out.

    The books and movies and CDs and magazines on the shelf are just waiting to be used. Let ’em fly!


  • The Shepherd’s Life

    Really enjoyed James Rebanks’ The Shepherd’s Life: Dispatches from an Ancient Landscape, a memoir of a sheep farmer told season by season. I followed his Twitter account for a while and enjoyed the seeming simplicity the stream of sheep pics depicted. Reading this memoir, however, disabused me of any assumptions I’d made about the life of a shepherd.

    Rebanks tells of growing up in a farming family, hating school and the anti-farming condescension that came with it. He covers a lot of interesting aspects of the profession that has run in Rebanks’ family for centuries: training sheepdogs, the long-range strategy required for successful breeding, the arduous sheep birthing process (“Imagine a couple of adults looking after several hundred newborn babies and toddlers in a large park”), the disturbing yet oddly endearing way orphaned lambs are paired with ewes whose own lambs had died, and the unexpected legacy of Beatrix Potter in his region.

    But this isn’t a kindly pastoral. The region of the Lake District in northern England, made famous by the Romantic poet William Wordsworth, is tough terrain at any time, let alone during the long, cold, glum slog of winter, which the hardy sheep can endure but only with help from the equally tough expert farmers. Though lauding its natural beauty, Rebanks openly resents the tourist-attracting romanticization of the region and the at-large decline of his profession and way of life.

    Neither does he spare the gory details of life with livestock. It’s hard, sweaty, demanding, low-paying, seemingly never-ending work. Yet even when, almost in spite of himself, Rebanks attends Oxford (his account of which drips with wry bemusement), he tends to his farm work on weekends and holidays and sticks with it even when the possibilities of the “outside world” beckon.

    I’d like to think Rebanks has read or at least heard of Wendell Berry, whose writing on farming, community, and modern life echoed in my head as I read The Shepherd’s Life. Odds are Rebanks would feel at home in Berry’s pseudo-fictional community of Port William, and Berry in the Lake District. Both men deploy a simple yet vigorous writing style, the occasional flourish surrounded by spacious prose — not unlike the rural landscapes they inhabit.

    Formally educated or not, Rebanks makes good use of the local dialect. Words like heaf, croft, heather, tup, fells, beck, ghyll, and shearling look and sound positively British, and help to ground us in the turf right alongside the sheep. (Check out the names of the fells — my favorite: Barf.) I also liked the book’s four-seasons structure, which, like two other nature books I love (A Sand County Almanac by Aldo Leopold and The Singing Wilderness by Sigurd Olson), gives readers the energizing feeling of spending a year on the ground with a wise, seasoned guide.

    “It’s bloody marvelous,” H Is For Hawk author Helen Macdonald blurbed on the book’s cover. From one nature writer to another, she was right. Check this one out.

    See my full notes from the book.


  • Favorite Films, Books & Albums of 2015

    Resurrecting my 2013 choice to include all my best-ofs into one omnilist, here are 15 films, books, and albums I loved from 2015.

    Film

    1. Brooklyn
    There’s a scene about five minutes into Brooklyn that setup the whole film for me. Eilis (Saoirse Ronan), soon bound for a new life in 1950s America, watches as her friend disappears into the dance crowd with a partner, leaving her alone, on the outside looking in at what will soon be her old life. The camera holds on her face, which betrays a tender bittersweetness that characterizes the whole of John Crowley’s exquisite and humane film. Even while still at home she is homesick, a struggle she will have to endure long after she sails away from Ireland and attempts to forge a new meaning of home. Saoirse Ronan carried this film, and me with it.

    2. Spotlight

    3. Mad Max: Fury Road (if only for this shot)

    4. Creed

    5. Slow West (review)

    Books

    1. The Hunt for Vulcan by Thomas Levenson (review)
    I’m a sucker for concisely written popular histories that uncover forgotten pockets of history and render them understandable and entertaining to the general public. This book does just that. Having read Isaacson’s biography of Einstein last year I was a little better equipped than I otherwise would be when reading about Einstein’s role in this narrative, yet I found Levenson’s distillation of the theories revolving around the Vulcan episode even more accessible than others. I’ve been pimping this one at the library with hopes more people will enjoy it as much as I did.

    2. Skyfaring: A Journey with a Pilot by Mark Vanhoenacker

    3. H Is For Hawk by Helen Macdonald (review)

    4. Step Aside, Pops by Kate Beaton (review)

    5. The Typewriter Revolution by Richard Polt (review)

    Albums

    1. Psalms by Sandra McCracken
    “All Ye Refugees” was quite timely this year, given the animus surrounding immigration. It’s heartening to remember public policy need not and should not be influenced solely by politico and demagogues. Though this album is explicitly based on the Psalms, like her previous albums The Builder and the Architect and In Feast or Fallow its blend of modern and ancient style lends it a timeless sound even the irreligious can appreciate.

    2. Didn’t He Ramble by Glen Hansard

    3. Carrie & Lowell by Sufjan Stevens

    4. Such Jubilee by Mandolin Orange

    5. Strange Trails by Lord Huron


  • Fates and Furies

    “Like that, all at once, Mathilde grew up over Aurelie’s skin.”

    That sentence pretty much summed up Lauren Groff’s Fates and Furies for me. It’s a book highly concerned with facade, which is often portrayed by the characters’ skin — the metaphorical skin Mathilde grows over her childhood self, and even the actual skin on Lotto’s face, which evolves from an acne-ridden liability in adolescence to an asset as a college playboy actor.

    Another force at play is expectations: creating them, subverting them, negotiating with them as reality strikes. There’s the playwright Lotto seeks out for an artistic collaboration who doesn’t match with who he was expecting, nor does the result of their collaboration. There’s the private investigator of many literal disguises. There’s the childhood friend conning his way through college. Even “Furies” as a whole, the entire second half dedicated to Mathilde’s perspective, acts as an upending foil to what “Fates” establishes with Lotto’s narrative.

    There’s a short, tangential paragraph that illustrates this well. It concludes a scene in Lotto and Mathilde’s dingy apartment with them and Lotto’s aunt Sallie and little sister singing “Jingle Bells” on Christmas around the tree. A stranger walks by and sees this scene and “his heart did a somersault, and the image stayed with him.” Groff gives this paragraph to an anonymous man completely unrelated to the story, for whom this small image within our narrative was a flashbulb moment that stayed with him throughout his life: “All those years, the singers in the soft light in the basement apartment crystallized in his mind, became the very idea of what happiness should look like.”

    Except that scene was not what it seemed from outside. The group was discussing Lotto’s turbulent family situation with a sour tension that usually accompanies such discussions, and Lotto started up “Jingle Bells” to shoo away the dark thoughts it had conjured — to “sing in the face of dismay.” Mathilde boiling with resentment, Sallie rehashing regretful memories, they joined in the song too in spite of themselves, forming a portrait a man outside their window would drastically reinterpret for the rest of his life. Indeed, appearances can be deceiving.

    Probably my favorite aspect of the book is Groff’s writing style. It’s a muscular but fragmentary syntax, as if it were a choppy sea — not unlike the book’s cover illustration — rolling Mathilde and Lotto along, barely keeping them afloat. It’ll put off some readers, but I’m a fan. It reminded me of Annie Proulx’s style in The Shipping News, which nixed sentence subjects altogether. (Certainly not every unorthodox style works for me: Rob Bell’s “give every sentence its own paragraph” arrangement, for example, grates me to no end.)

    I’d heard from the general buzz around the book that the two parts were different perspectives on the same story, and that a major twist drops in the second part, a la Gone Girl. But it didn’t feel that way at all. “Furies” is more like a slow twist, unrolling gradually to reveal the darker side of their marital orbit. For that reason I think I like “Furies” more than “Fates”, which is the opposite of the consensus I’ve heard from others. Lauren Miller at Slate is right, though, that “Fates” published alone would have felt slight, just as “Furies” published alone would have seemed farcical.

    The book is greater than the sum of its parts, so all the plaudits thus far make sense. I don’t read enough fiction to fairly compare it to anything else, so I’ll just say I dug it and you might too.


  • The Typewriter: A Graphic History

    closeup-gallery-typewriterbook-021.jpg

    Janine Vongool’s The Typewriter: A Graphic History of the Beloved Machine is a gorgeous compendium of ads, photographs, and other artwork depicting typewriters and related ephemera from their invention in the late 1860s to the 1980s, when personal computers began to supersede their analog ancestors.

    In other words: straight-up typewriter porn.

    Some interesting tidbits:

    The Name

    Charles Weller, a clerk who witnessed the early development of the machine, talked years later about how the typewriter got its name: “Typewriter was an unusual name and had a unique sound, and so it was finally adopted, and then for the first time was heard a name, sounding oddly enough at that time, but which has now become so common throughout the civilized world that we wonder that any other name was thought of.” Other names like “writing machine” and “printing machine” didn’t quite fit, and in retrospect were clearly inferior choices to typewriter, which indeed is an unusual but perfectly apt name.

    The War

    Typewriters were recruited to the World War II effort just as other industries and product were. The Royal ad below: “Uncle Sam wants every typewriter you can spare because the fighting forces need typewriters desperately today. They’re needed to speed up production, the movement of supplies, orders to ships and planes and troops. The typewriter industry can’t supply ’em – we’re busy making ordnance.” Manufacturers implored customers to either sell theirs to the government or maintain them better, as supplies and repairmen would be at a deficit due to war production.

    2016-01-19 09.21.04.jpg

    A Secretary Is Not A Toy

    Sex and sexism are common themes throughout the decades of typewriter advertising shown in this book. Early 20th century graphics often depicted the office secretary as the “temptress at work” or an idle daydreamer, with the word typewriter “often used to describe both the machine and its operator.” The ads above make winking reference to these assumptions with the bait-and-switch headline that’s actually just selling carbon copy paper. The ads below promoted using bright red fingernail polish to contrast with the style of the machine; in a brilliant move of synergy, Underwood even made its own “chip-resistant” polish secretaries could sample by writing in on their office stationery.

    2016-01-19 09.08.23.jpg
    2016-01-19 09.19.14.jpg

    Typewriters and Self-Worth

    Showing us that some things never change, some mid-century ads promoted typewriters to young people as statements of social standing, self-improvement, and self-worth. One Corona ad from 1921 just comes right out with it: “You probably suspect that we are trying to sell you a Corona. Nothing of the sort. We are just trying to convince you that you need a Corona. That’s different.” Royal really hit the self-improvement theme hard, promising a 38% rise in grades due to all the “exclusives” the 1958 Royal Portable provided.

    2016-01-19 10.23.31.jpg

    While I would have appreciated more contextual information accompanying the artwork, Vangool mostly lets the many images speak for themselves. Overall, it’s a superbly made coffee-table book that fans of typewriters and the graphic arts especially will enjoy.


  • From Chicago, A ‘Brooklyn’ Homage

    2015wrap_560

    It was a pleasure and an honor to attend Filmspotting’s 2015 Wrap Party at the Mayne Stage on January 9. I’ve been an avid listener for a few years, and finally became a regular donor last year, so with that evening off I jumped at the chance to go to a live show.

    A few days before the show they emailed attendees to solicit listener picks for Scene of the Year for possible inclusion in the show. I knew there was a chance they’d read my email or put it on the big screen, but didn’t think much of it. Then suddenly, surprisingly, during the Listeners Picks portion of the show Josh called out my name. Oh shit, I thought. Tyler Greene of WBEZ was sprinting upstairs to where I was in the balcony to hand me the mic, and at once my voice was booming out to the sellout crowd.

    With no time to formulate my thoughts, I scrambled to remain articulate about my submission, which was from Brooklyn. My answer is at 1:35:00 in episode #569 (though you should listen to the whole thing and subscribe while you’re at it). I got through it well enough, but I wish I’d recalled more of what I’d submitted in writing:

    My scene of the year takes place in a small-town Irish dance hall, not five minutes into the exceptional film Brooklyn. Eilis, soon bound for a new life in 1950s America, watches as her friend disappears into the dance crowd with a partner, leaving her alone, on the outside looking in at what will soon be her old life. The camera holds on her face, which betrays a tender bittersweetness that characterizes the whole of John Crowley’s exquisite and humane film. Even while still at home she is homesick, a struggle she will have to endure long after she sails away from Ireland and attempts to forge a new meaning of home.

    Anyway, it was a fun night all around. I went alone, but ended up sitting next to two guys with whom I chatted about the year in film. Thanks to the Filmspotting crew and WBEZ for putting on the event, and for manufacturing a podcast that is intelligent, well-rounded, and edited. (Seriously, I can’t overemphasize how wonderful it is that the show is thoughtfully edited and not just a stream of talking.)

    See you in my iTunes feed.


  • Calling All Citations

    otter-fishing-wikipedia
    The first article that came up when I hit Wikipedia’s “Random Article” button. I’ll call it a win.

    Greatly appreciated this post from Jessamyn West promoting the #1Lib1Ref campaign (One Librarian, One Reference), which seeks to get every librarian to add at least one reliable reference source to a Wikipedia article that needs it. Jessamyn:

    This helps make Wikipedia better in the process. I added my cite today to the Free Your Mind… and Your Ass Will Follow article. I’m not even trying to be sassy, that is just the page that was handed to me by this great tool that lets you know which articles need citations. I did some Googling, found a Google Book that had some supporting detail for the fact in question, used a book citation tool to turn it into Wikistyle and there you go. I might do two, just in case someone doesn’t have time to add a citation to Wikipedia this week.

    Wikipedia is 15 years old today. About a month ago I donated to the Wikimedia Foundation for the first time during one of their fundraisers, because I’ve been a cheapskate freeloader for long enough. I’ve been using it since high school, when it started getting big and quickly became anathema to cite in any academic or “serious” setting, given its unreliability as an authoritative source. (As an editor at my college paper I once received a story from a staff writer that began “According to Wikipedia…” Headdesk.)

    But for a trivia-brain like me, Wikipedia was and remains a delectable time-suck of arcana, and a handy resource I consult more frequently than I realize. For looking up films, for instance, I much prefer its spartan UI and rigid structure to the once-helpful but now-bloated and gaudy IMDb. And though Goodreads is usually my first stop for book ratings and reviews, the sidebar for a well-enough-known book has all the metadata I’d usually need. In good articles the References and Further Reading sections also make great portals to related topics and sources you didn’t realize you were interested in.

    I once read somewhere that Wikipedia is like the opposite of communism: it doesn’t work in theory but somehow works in practice. That it hasn’t fizzled out already is a minor miracle, a credit largely due to the many volunteer editors who keep it running (and probably to enough of those annoying fundraising banners that show up in increasingly creative and strident ways). I’ve made edits very sporadically over the years—mostly cosmetic ones like italicizing titles and correcting links—but once while in a Wiki-rabbit-hole I excised a vicious ad hominem comment someone had written on Taylor Momsen’s page, which was pretty sparse at the time and therefore more liable to vandalism.

    Speaking of: the site has issues, clearly. Who knows how much longer it’ll be around in its current form. Like the rest of the open web, I hope it lasts and evolves into a sustainable and dependent force for good. This #1Lib1Ref challenge is a good opportunity for librarians like me to be more proactive in this weird and wonderful experiment, if only as a professional obligation.

    So thanks Jimmy for 15 years and counting. In celebration I will click the Random Article button (the site’s best feature) 15 times and only 15 times. I’ve got stuff to do after all.


  • The Big Short

    bigshottrailer.jpg

    The scene in The Big Short that encapsulates the entire sad, tragic, enraging economic failure it covers is a short one. After Lehman Brothers collapses, the dejected horde of laid-off employees are shown streaming out of the building, bewildered and holding their bankers boxes of personal items, as an executive (which in the script is described as “diminutive”) shouts robotically:

    “Go straight to your transportation! Do not talk to the press! Go straight to your transportation! Do not talk to the press!”

    I don’t know if this actually happened or not, but it sure sounds like it could have. The Move along, nothing to see here attitude pretty much sums up the events in the film, and the Great Recession in general. Malfeasant banks, obeisant credit agencies and watchdogs, reckless homebuyers, deceitful executives all agreed there was nothing wrong, that bad things are only done by bad people and not Good Americans just doing their jobs.

    I was a junior in college when the crash hit in September 2008, so I was largely (and luckily) isolated from its worst effects. By the time I was looking for a “real” job, after a gap year and two years in grad school, it was 2013 and economic conditions were much more favorable. Still, I remember that time very well: GOP presidential nominee John “The fundamentals of our economy are strong” McCain, the bailout, the bonuses, Jon Stewart vs. Jim Cramer.

    People my age have witnessed many events over the last decade and a half that I think will remain deeply instructive for our foundational understanding of the world: 9/11, the Iraq War, Abu Ghraib, the Catholic Church sex abuse, Hurricane Katrina, the Great Recession, Trayvon Martin, and the NSA a few among them. Controversies like these often reveal the partisan fault lines that determine what you ought to believe about them, depending on whether your county is red or blue. But to me they all proved, just as The Big Short proves, that the game is rigged, that the truth is not as it is reported to be.

    Move along, nothing to see here.

    This is a lamentable conclusion. The film dresses it up with good actors delivering savvy exposition at a caper’s pace, but it is there nevertheless. At the heart of this film are farsighted money-men trying to profit off the greed of shortsighted money-men. This makes them no better than Captain Renault in Casablanca, and yet we root for them because they’re not Major Strasser.

    I wasn’t planning on getting so down while writing about this film, but the underlying melancholy that pervades it stuck with me, and ought to. Perhaps that’s why I responded to this much more than The Wolf of Wall Street, which treads similar territory yet repulsed me. (I get that Scorsese was trying to do that: congrats, I feel disgusted by Belfort and his life; now I will never watch it again.) The Big Short made me understand and made me give a damn; The Wolf of Wall Street spat in my face. Who would have thought Adam McKay would create a more well-rounded take on American avarice than Martin Scorsese?