Mustard

Readings: 2008

2008-08-04T09:30:00.000-07:00

Here are my readings of 2008, so far. The list is pretty slim, but that's ok. I'm a second-half kinda guy (I hope).

Blood Meridian , by Cormac McCarthy
The Kite Runner , by Kahled Hosseini
All the Pretty Horses , by Cormac McCarthy
Lolita , by Vladimir Nabokov
Deliverance , by James Dickey
The Amazing Adventures of Kavalier and Clay, by Michael Chabon
Moby Dick, by Herman Melville

Next Up: Crabwalk, by Gunter Gras

K&C Part Three: "The Funny-Book War"

2008-07-06T12:45:00.000-07:00

There's a lot of things going on in the earlier chapters of this section that I could have done without. Still, even though I do find myself moving through the descriptions and explanations with less interest and more speed, every once in awhile something stands out that demands my attention. I'm still enjoying the novel, but I do wish there was a little more Sam Clay in the story, as he is one-half of the title. Here are a few thoughts:

More and more the novel is about exploitation, taking advantage of the helpless (obviously the Jews in the background and the boys with their comic book rights), and feelings of helplessness or ineffectiveness. Joe's anger grows in the early chapters (and his helplessness - he can't even find it in him to join the RAF), and we see him getting mixed up with every German on the street, and even breaking into an Aryn Nation office. I did not find these chapters to be enjoyable, as Joe's character spins out of control and loses a lot of that careful, thoughtful precision we've grown to count on. The ridiculousness (and danger) of his whole transformation comes to a head when the bomb threat is introduced, and it takes a "superhero saves the day and gets the girl" (Dali's choking and Rosa)cliche to bring the character back to me. Meanwhile, Sam is dealing with an incident with two homosexuals (here we have one of Chabon's best moments of imagery: "their mustaches interlocked in a way that had reminded Sammy, for some reason, of the way his mother used to fit his comb into the bristles of the brush on top of his dresser..." (254))making out in an all black kitchen. Note: I very much enjoyed how Chabon captured what I would call the phoniness of a New York City "Artsy" apartment. The Passages and Transformations (metamorphosis) theme is also at work, mostly in the characters of Anapols and Judy Dark, for now. Loss of innocence is seen when Sam witnesses the homosexual kiss, Joe looses his dad, and in the beatings Joe takes. Also, we see Rosa as a woman of many faces and guises (appearances versus reality).

Highlights: The brief explanation of the printing process in Chapter 1 (a strength of the novel is learning about things Ala The DaVinci Code), the development of Joe's art (we see him consider his craft through the work of others in Chapter 2), the vision (albeit a challenge to see) of his father coming off the Rotterdam (and the certainty the reader feels that the time is near for Joe to experience a loss - which he does shortly thereafter), the respect James Love and Al Smith have for Joe (and his work), Dali, bringing Rosa back, the details Chabon gives us of Rosa's room (which is typical for Chabon, but I liked this setting more than others because I felt it had more to do with the main plot), the entire Chapter 11 with Hoffman and the Ark of Miriam ship (which gives Joe and the reader a little hope), Judy Dark & the Book of Lo & Luna Moth (one of the better chapters and something that is needed - like The Escapist legend - in a novel about comic books), and Desey's character development (easy to like as he is on the side of our heroes).

Low lights: Max Schmeling and Joe's obsessions with Germans. The chapter in the office of the Aryn American League (why did he sign the folder "The Escapist"? I know, I know, he does it to spit in the guy's face and it provides some suspense, but why be stupid?), 1/2 of the bomb scare chapter(the history of Love and Smith - do I need this?), details on Longman Harkoo (who cares),not enough Clay, the idea that Clay might be gay, and how the boys get screwed on their rights (this is a personal issue for me, not a flaw with the novel).

Final thoughts: There seems to be a lot more foreshadowing in this part of the novel (Anapol's nervousness = heart attack?, vision of father before death, Ebling,etc.). Here's a quote I liked on page 177: "Joe's work also articulated the simple joy of unfettered movement, of the able body, in a way that captured the yearnings not only of his crippled cousin but of an entire generation of weaklings, stumblebums, and playground goats." This, to me, is truth in literature. Chabon is excellent at seeing into the heart and minds and hopes and dreams and fears of the young and old. It seems to me that literature has many purposes: to escape, to think, to learn, to dream, to marvel, and to help us look within ourselves. I'd say this novel is doing the job.

What does "Jeune homme" mean? My brother? It must have been a hell of a compliment.

Kavalier and Clay: Part Two "A Couple of Boy Geniuses"

2008-07-03T07:56:00.000-07:00

The second part of the novel was most satisfying, and moved quickly. There were lots of wonderful things being done here, as I read about the development of the two boy's relationship, the birth of The Escapist, and Sam's history with The Mighty Molecule. It's better I break it down by chapters:

1 - The first chapter gave us the history of the comic book. Which, as an avid fan, I enjoyed very much. I didn't know how comics grew in this country, nor when, so the author had my attention. Also, Joe's solution to drawing the sound of a fart, and Ethel's rule about minding her own business were moments that I enjoyed. I like how Joe doesn't get shocked or overwhelmed by Sam's Americanness, so to speak.

2 - The Empire Novelty Company, Inc. chapter is a good demonstration as to what it is about the novel I don't care for: it's too much. While I can honestly say that I like the various characters presented to us (and their back stories), I must admit that I'm bothered by how many there are. In this setting alone the boys have to deal with THREE bosses/obstacles: Anapol, Askenazy, and - later on - Deasey. And while it's nice to know about Anapol's history, and Deasey's (n chapter 11), do I NEED all of this? I need the history of the boys, and the history of The Escapist, and even the history of Kornblum, but Deasey?

3 - The walk to "Palooka Studios" (which has four names, not one - calm down Chabon. Does the changing names suggest "changing your luck",lack of commitment, youth fullness, the instability of the apartment, or the author's need to do too much?). Here we meet up with Julie Glovsky, one of FIVE new characters that will help with the new comic book. The best part of this chapter: Sam's "moment of global vision" (94). His ability to reason out the "why" (and how funny the scene is), for me, is one of the best parts of Part Two. Also, at the end of the chapter he tells Julie, "this is my partner". A perfect ending and segue into the next chapter about a father and son.

4 - At first, I was like "what's up with this?" for the Mighty Molecule chapter ( thankfully, Chabon did not extend it another ten pages). But, as I got into the chapter, I really enjoyed it. The mother's battle between disgust and sexual satisfaction, the boy overwhelmed by the size of his dad's penis, the father's revelation about why he walks the son around so much, and the dubious story about the dad's presence during Sam's early stages of polio were all enjoyable. The life of a strongman performer aspect fits in with the whole novel, offering insight into a different form of "bizarre" entertainment (what, no chapters or characters that deal with organ-grinding, clowns, or dueling banjos?). I was disappointed with the predictable promise then abandonment ending of the chapter, but happy to move on.

5 - Joe IS a superhero! "Look at him" "Look what he can do." (111-112). A great moment. Sam, in awe of Joe. Hope in Joe's ability to take Sam and morph him into a boy of dreams to a boy of reality. I loved the quote, "A longing - common among the inventors of heroes - to be someone else." (113)

6 - The naked girl chapter reveals Joe as a sensitive, lover of beauty and art (who needs money). This scene is great in that it reveals HOW Joe selects his picture's composition and perspective, and shows him foregoing turning the picture into just a slap-shot (ha ha) - by leaving the breasts out - and going for the perfect snap shot. I like the extra detail about Julie keeping the picture all of his days, and eventually getting credit for the drawing. Typical...

7 - The idea for The Escapist and the golden key. Fast, and interesting. I liked Chabon's note about the absence of a Houdini like hero at this time in history. I think Chabon is impressed with himself for thinking of a character that no one else thought of (which he needs to do to tell this story).

8 - The Legend of The Escapist. What an excellent way to tell a story. I give the author a lot of credit for his ability to insert these chapters (like the Molecule one and this one) into the novel to break up the walk from Empire to Palooka Studios, and tell the story in a different way. It somewhat reminds me of Steinbeck breaking up the Joad's trek to California with "extra" chapters, in The Grapes of Wrath. I enjoyed the whole chapter, especially its "comicbookness". Here WE start taking ownership in the characters in the comic book, and the novel exists of another plane (it has a few with the Holocaust stuff going on in the background). We are not only watching the boys create the comic, we are experiencing the story of The Escapist as well. Nice.

9 - Sam and Joe bonding

10 - Jerry, Marty, Davy, and Frank. Frank instantly "sees" Tokyo Joe for what he is (a real artist), and the boys sign up one by one. Why the "Masked" men? THEME? Symbolism? The Hitler touch is a nice one. Personalizes the book for Joe, and shows Sam cares. Davy is a sweet character. What's with Jerry and the chicken? I don't see Jerry as a "good guy" later on. He might be a bit of a problem for our boys later on. The girl?

11 - The work marathon. Here we get to see Sam's talents center stage. This is an important part of the relationship, as Sam must hold his own. As Sam works through the character of The Swift, you can really "hear" him. I think this is a strength of Chabon's: dialogue and pausing. Also, Sam's truthfulness at the end of the chapter (his virginity) really cements the trust factor of their relationship, as does the two boys falling asleep together on the floor (which is how this all started).

12 - The offer and the rejection. I like the Deasey character as he instantly recognizes Joe's talent, and reads the WHOLE book carefully (showing that he is a man who takes his time and is meticulous). The offer shocked me (don't sell the rights!), but not Joe's steadfastness about the cover. Sam's loyalty and commitment to Joe - in the face of achieving his dream - was necessary, wonderful, touching, and ... You get the point.

I look forward to reading more and writing LESS!

The Amazing Adventures of Kavalier and Clay: Part One "The Escape Artist"

2008-06-30T04:35:00.000-07:00

I'm fairly excited about reading this particular novel. It originally came into my consciousness thanks to Karl Anderson, who had read the novel when it first came out years ago and prompted me to buy it. As a fan of Chabon(through the outstanding film: Wonderboys), I thought it would be nice to read one of his works. Also, I've felt the need to familiarize myself with more contemporary novels, now that I've read so many "classics". Unfortunately, the book gathered dust on my shelves for quite some time, as I was uninterested in the subject matter, and decided that the length of the novel was too much to dedicate myself to, if I wasn't ready. Along came Robert Ford. Ford, who's teaching the novel to his UCONN English class this fall, is re-reading the novel to prepare himself for the discussions, and I thought I'd joining him during this process (jump on the bandwagon!). Lesson: Never let the opportunity to piggyback on someone else's enthusiasm to accomplish an elusive goal pass.

So, here are my (very brief) thoughts on Part One (possibly the shortest of the parts):

First of all, I was surprised at how much I'm enjoying the novel. I didn't think the subject matter (magic and comic books) would interest me, which makes no sense as I grew up on both (Houdini was a hero of mine and I've read books and seen films on him; I have about 5 thousand comic books). I can't give a good reason as to why I wouldn't be interested, only that I thought the novel might be silly. That having been said, the novel is not silly in any way.

The first chapter is clever in that it focuses on Sam Clay (who will be ignored for most of Part One)for the first few pages, and then brings in Joe Kavalier in the strangest of ways ("Wake up! Here's your never-before-met Czech cousin, now share a bed with him.") to set up the two men's relationship by showing just how fast they are thrown together (little choice), and bond over common interests and a home-made smoke. So much of the novel's main topics are seen instantly: Houdini, Comics, the partnership, Jewish suffering, etc. Also, we get to see Clay's energy, desire for self-improvement, and deceptive relationship with his mother (who thinks Clay is farther ahead in his artistic endeavors) quite quickly. Clay is instantly impressed by Joe, who has traveled to Brooklyn from places Clay has only dreamed about. Joe is established as a much more mature, confident, and independent young man than his cousin, through actions such as buying newspapers,his promise to find his own bed as soon as possible, and the faith he displays in his drawing abilities. Ultimately, he is much more a man of action than Clay, who only assists in the creation of the jury-rigged cigarette, instead of coming up with the idea on his own. Here we have our leader and our follower. I assume this is the way their partnership will continue from here on out. Chapter 1 really accomplishes a lot in a short amount of time. I noticed that the author likes to use a lot of examples and lists. I'll assume that is part of the reason why this novel's so long! Most of the examples I expect to read (some with a smile or a "wow"), but I'll probably skip a few when I'm on the tired side, or anxious to read on.

Chapters 2-4 flashback to Joe's early life in Prague, as he goes from magician's apprentice, to escaped Jew, to thief, to escaped Jew, and ultimately back to Clay's room by the start of Part Two(wowing Clay with his drawings). We meet his highly-educated (but somewhat distant), self-sacrificing parents, his younger brother Tommy (who brings a sad, more realistic element to the story), and Kornblum, an extremely satisfying, albeit "stock" character (in that he is in many ways - with the possible exception of his evening with the prostitute - predictable: grumpy, pensive , "smarter than everyone else", quick to teach or scold, loner, fatherly, eccentric, etc.). The early days of the two brothers (the sweet, younger, impressionable one following his older brother around)are reminiscent of the Houdini brothers, and the "failed" escape from the icy river gives us two major themes in the novel: dealing with loss (in this case, the loss of the brother's musical abilities and the loss of Joe's magical career) and appearances versus reality (the Hofzinser Club is nothing like what the boys expected). I go back to something a character in Wonderboys said about how writing is all about making choices. The choice to take away Tommy's music was a hard one for me, the reader, to accept. But, that is the nature of life. I enjoyed all of the insights into lock picking (most notably, creating a pocket in your cheek to hide tools!)and escape methods, very much. As a claustrophobic, I couldn't help but suck a little extra air during this section (although I though Chabon could do even more with this. The final coffin escape was not as horrific as I would have liked).

I have to admit, it took awhile for me to figure out what the hell a Golem was (thanks Ford!). And, even though through watching Raiders of the Lost Ark I was familiar with the whole "Nazi's stealing religious artifacts" idea, I still don't see just HOW important the Golem really was. I did, however, really enjoy the apartment building search (the disguises were underplayed), with the insight into the Jewish suffering, children's insights (strange window: see Finding Forrester), the suspense built into the break in scene ("Hands up, gentlemen"), and the cleverness of the prostitutes and the old waiter. I especially liked the secret room, and the discovery of the Golem. Having to cloth the Golem as a way of getting Joe to go back home and see the dramatic change in his family's living arrangements was also inspired, especially as we are left with a real deep sense of sadness for Tommy, Jews, and even Joe, who must carry this burden of escape (clever!) for the rest of his life. There's a feeling of something missing at the end of Part One (no final words between the old teacher and his student, parts of the journey omitted), but that's OK. I didn't like the deflowering of Joe (not needed, I thought), even though it was probably symbolic of his loss of innocence. It's hard to get a hold on what the majority of the novel will be about (beyond themes and character development).

OK, that's enough.

The Road, by Cormac McCarthy

2007-07-03T19:26:00.000-07:00

Ford recommended this one, and, while I'm not a fan of post-apocalyptic novels, I'm very glad he did. This novel is simplistic in a variety of ways - straightforward dialogue, simple words, basic sentences, etc. -,yet it has an emotional depth that, as a father of two boys, hit me pretty hard. I see the Hemingway comparison through the lack of dialogue guides, the language, and the masculine themes, but there's a lot of "Papa" that McCarthy doesn't borrow from (e.g., Papa was not one for using similes, nor for telling the story, whereas McCarthy does both, quiet often). Still, that's a good thing! Who'd want to read a total Hemingway rip-off? The book was easy to read, and hard to put down. However, I found myself compelled to put the book down on several occasions to check on my sons or just give them a little of my time. If you read the novel, you'll quickly understand why the story had this strange effect on my paternal nature. As far as the major themes go, I found them easy to uncover, which, after reading such dense literature lately, I was grateful for. There was also a "child of God" religious thing going on that I enjoyed thinking about. I would definitely recommend this novel to several of my friends, and would probably give old Cormac another chance. The only "flaw" in the novel - if you can call it a flaw -, is that the audience seems to be somewhat limited. I don't see this as a novel for women. Maybe it's just me ...

On a side note, I had the strangest experience with this novel: I lost it! Last night the novel mysteriously disappeared from my home. I had 40 pages left to read, and it just up and left on me. I looked everywhere. And I mean EVERYWHERE! Freezer, bookshelves, downstairs shower, garage, cars, under the sofa, wood-burning stove, medicine cabinet, dog's stomach, etc. I have NO idea what happened to it. Mark was kind enough to lend me his copy - which I didn't molest in anyway -, so I could finish the novel. I get a headache just thinking about the 3 hours I spent looking for my copy. Where the hell is it?

Readings: 2007

2007-04-15T11:31:00.000-07:00

The "official" 2007 list! I'm going to include a book (East of Eden) I started in December of 2006 and finished in Jauary of 2007. I guess I get 1/2 credit for that one.

East of Eden , by John Steinbeck
Crime and Punishment, by Fydor Dostevsky
Uncle Tom's Cabin, by Harriet Beecher Stowe
As I Lay Dying, by William Faulkner
Beowulf, by R. Ford
For Love of Evil*, by Piers Anthony
A Farewell to Arms*, by Ernest Hemingway
The Road, by Cormac McCarthy
The Remains of the Day, by M Fabrizi
Wielding a Red Sword*, by Piers Anthony
Things Fall Apart, by Chinua Achebe

*These are re-reads.

Currently Reading: Blood Meridian, by Cormac McCarthy

Next up: Zen And The Art Of Motorcycle Maintenance, by Robert M. Pirsig

What's the buzz, B?

2007-02-27T18:01:00.000-08:00

So there we sat,discussing and diffusing, situated amongst a hoard of boors, calling words like "Visigoth" and "blackguard" to come forth and testify before a cup of coffee.

The upstairs version of the downstairs smoking section in an all too familiar bistro, swirled and shook under the mixture of uncommon thoughts and bizarre dreams: Wilted dicks and all-night exterminators gathered under a mighty mosquito roof of a Volkswagen minibus and head off to confuse a bunch of Jamaicans with a bag of rock candy and a bottle of Dewars Scotch Whiskey.

I learned A minor on the harp while dosing Dr. Seuss with hits of Charles Manson and avocado hamburgers. Indeed, the vegetable kingdom threw forth many sacrifices for our total consumption, and I personally counted six different greens on a table of red and white. Who knows what a zucchini thinks just before hitting the fryer, marked $4.95 and served with horseradish sauce?

We questioned the Simians, laughed at virginity, wondered about bubblegum and the future of the Knicks.

So the couple at the far table might have to re-evaluate for a few days, and the waitress has a hottub and a thong bikini. Must we all speak with embarrassment when assessing the value of an Oreo cookie, on a Tibetan mountain, while looking to get into the Guinness Book of World Records? Or have women truly mastered the blues amongst the tombstones in the pouring night?

For Larry: On the night his heart broke

2007-02-27T17:20:00.000-08:00

What's left?

Shadows...

Leaks of dust, dead skin to silhouette a frame,
when no windows cracked suggest protection.
Drops of rain to moisten the flesh,
when flaked skin begs cold cream,
unbottled.

And when the bottle pours an offensive amount,
bearing blatant stench to churn acidic walls,
and weakens the lever that lifts heavy, heavy glass,
I know I must, MUST drink what has been drawn without ink,
from the hastiness of the tip.

Then comes howling.
From the deserts and dunes, swamps and stagnant pools,
baked grass and rolled up leaf...
From offices, resorts, bikini shops, motel rooms, church bells,
and old reunion notices...
One hundred intangible creatures;
a vicious, snarling bite greedy and grinding;
a demand for a final gift to my grave, my blood.
They come tongue in sword,
melding from subtle wisps,
to overworked putty,
towards social glass, paper tin, abandoned rock,
and finally...

I do not (you should not, Larry) find pleasure in the bruises.
Wrestled from their precious skin, by the itch of my uncut toes,
when the cubs - that now a wolf - once naively mewed over my nipple's milk.
Thier breasts are strong, and their dust has sting, and the shadows are power.
Because?
Because they have marched.
Indeed, I lead their forces.

This may sound incredible,
but I believe these shadows to be my friends,
as long as the nudity is intact.

Who represents my failures,
surrendered pawns,
like the naked, the vulnerable, the warmth of raw trust, the chill of sincere shame, shy fear, bold exhibitionism, padded illusions?
Their gift to clench the spine so tight to widen eyes to evil spread to fingers burn to iron revelations: Fire. Fury. Freedom!
Their gift to welcome sudden frost, not flinch, to posture like a Celtic giant on a throne of outrageous oasis, chilling grin of past glory.
Their owners, these shadows, the WOMEN who suffered, surrendered, attacked, admonished, fought to linger and flourish for future sisters to protect for me, from me, me from,
like our brothers once protected them, needed protection from.

In this game - a simple choice of word - there are no villains.
Just late bloomers.
The only rule is to see them NAKED,
and then ...

Close your shades to a bearable modicum of pressures ...

From the Madness ...

2007-02-27T17:17:00.000-08:00

It's an all new script;
a grain of soul plucked from the brows of mellow hipsters,
children of Pan, soilders of the sacred wood.

Stained and smarting, the blood of Loki blackened my soul.
To be new baptized in the bush,
roadside relief, moon mountain harvest.

I arrive.

This is where I belong,
up near the mountian's frosty breath,
clothed as an iron-horse warrior,
alone and thinking: consume it all baby; you're free.

"Baccus, I'll be with you tommorow.
Tonight it's time for healing."

Crime and Punishment: Final Thoughts

2007-02-24T11:53:00.000-08:00

I had originally started work on a few thoughts about Part 4, but then I pulled them for revision. By the time I got back to the computer I was well beyond Part 4, so I dumped the blog. Before I get to my final thoughts on the novel, here are a few highlights of the Part 4 Blog:

Part 4:

For me, Part 4 was a bit of a let-down. While I whole-heartedly enjoyed chapters 1-3, I found myself uncomfortable with almost everything that happened after Rodya left his mother, sister, and Raz. with gaping mouths. In chapters 4, 5 and 6 we see moments of cruelty (torturing Sofya) and weakness (cracking under the annoying laughter of Porfriy - I did not like this scene with Porfriy half as much as the earlier scene at the apartment) from our protagonist. These were disappointing moments for me, and I didn't expect that type of regression from Roskolnikov. I especially didn't like him waffling back and forth in regards to surrendering to the authorities (Note: Now that I've finished the novel, I've changed my mind about his constant indecisiveness (aka: most of the internal tension in the novel). This element of his personality stays consistent all the way through to the magnificent end when he goes down the stairs of the police station only to be encountered by Sofya, and realizes that there is no turning back. This back and forth mentality is effective and believable.).

Still, there were interesting moments in the final 3 chapters (when he talks about Sonya leaping into the water I recalled the woman in Part 2, Svidrigaylov's diabolical presence at the end of Chapter 4, the suspensefull moment with the man behind the door, come to mind), and I happily found myself pondering the strange paradox of rooting for a killer. Ultimately, it was the first 3 chapters that made this Part fun for me.

Svidrigaylov is an excellent addition to the novel (He remains one of my favorites throughout the tale). I know, I know this is very redundant to say, but he belongs in a Dickens' novel! I loved how quickly Rodya and he revealed their minds in Chapter 1. Svid. does a great job of waiting out Rodya's original disdain, and successfully wins over the reader (at least this one) by the end of their conversation. Svid is sneaky, smart, cunning, and, as we later discover, dangerous and sad. His rationale for pursuing Dunya is more than acceptable; who can be blamed for seeking love? Sure, he's a bit of a screw-up and a golddigger, but I don't believe he purposely fell in love with Dunya. He might, however, have fallen for any other woman besides his wife, had Dunya not been around. Interestingly enough, after reading more about Svid. in Parts 5 and 6, he reminded me Florentino Ariza in Love in the Time of Cholera, although only loosely. I think it's the thirst for sex versus love thing.

Chapter 2 was outstanding (Luzhin Revealed!)! Oftentimes, I look for characters to come out and deal with their problems immediately and courageously, and they fail to comply. All that I had hoped for with this Luzhin "problem" came to fruition. Dunya and mom rose to the occasion, and proved they are women capable of taking care of themselves, with the exception of financially, of course. Dunya's intelligence is only matched by her strength of character. Her assertion that Rodya would apologize if ordered was impressive. Never once did you see Rodya challenge her authority. Watching Luzhin squirm was a delight (This scene is matched by the one later on in Part 5, when Luzhin's attempt to slander Sofya is thwarted). The snobbish upper-class is always a delicious mark in literature. Although I was surprised and angered by Rodya's sudden attempt to estrange himself from his family (after they just experienced such a great triumph), his silent exchange with Raz. at the end of the chapter might be THE moment in the book.

Note: After I read Fab's remarks on Part 4, I remembered the moment when the narrator decided to use the 1st person pronoun. While reading that scene, it struck me as odd. I was glad to see Fab bring it up. I think an FD scholar probably has had a field day discussing the narrative point of view in this novel, and I wouldn't mind reading more about it. One of the things I noticed is that the tone and pace of the narration oftentimes shifted to meet the personality and the moment, several times in the last 3 Parts (Profriy's scenes and the scenes with Katerina Ivanova come to mind). Now I know this is not uncommon in great literature, so I might just be saying something obvious here.

Final Thoughts:

I also really enjoyed reading this novel (I peeked at Fab and Ford's blogs). It was an excellent choice for this blogging project, but a difficult one as well. There are a lot of different ways to examine the book, and it would take a lot more work than I have time to put in to do an authoritative/scholarly examination with each part (at this point in my life). Still, I liked doing the work I did (a solid record of my reading to refer to later on is very attractive to me), and I liked reading the other blogs as well. I guess I could say I now posses a much better than average understanding of the novel, so that's nice. I'm going to throw out a few final thoughts here:

Luzhin (Part 5, Chapter 1): "Am I to get married for the sake of the furniture?" One of my favorite lines!

I enjoyed the Luzhin character tremendously. I really liked the scene with his roommate, Lebeziatnikov, which was unexpected, since I could care less about Leb's commune idea. Luzhin's counting of his money in front of the bohemian (and clearly jealous) phony was a delight! (On a side note, Leb. really redeemed himself in the slander scene). Luzhin's offer to "help" Sofya perked me up, and I couldn't wait to see how his revenge on Rodya would take form through this poor girl. Once Luzhin exited the novel (way too early for this reader, but at an appropriate time in general), his absence was missed. One of the things I noticed (or thought about) during the scene when Luzhin begins his accusation (his re-telling of the facts) of Sofya, is just how patient of a writer FD truly is. There are many moments in the story (Porfriy's speeches and Katrina's death scenes come to mind) where the writer allows his characters to talk at their own pace, through what I consider great discipline on Dostoevky's part. I would imagine that having a sound understanding of where you're going, and what you want to accomplish, would make a lot of writers rush to get there, but not FD. Still, as I'll mention shortly, this can be a fault if used too much.

Svidrigaylov (Part Two): Like Luzhin, Svid was a favorite character of mine. I always enjoy the villains and the asses (that's why I like Richard III and Twelfth Night so much), so it's no surprise to me that I liked this creep. However, I felt that every moment after Dunya shot him and he walked out of the room dragged the story down. He is an interesting character, yes, but he's not the main character. His "goodbyes" and his dreams (I did like the helpless little girl dream a lot) were totally unnecessary. Here FD is doing too much!

On a side note: Actually, I found that quite a few moments in the novel could have been whittled down, although not the death of Katerina (it was very powerful and worth the read). The novel definitely has a lot of "flavor", which can be both rewarding and tedious, depending on your personal taste. I read that one of you loved the dinner scene tremendously. While I enjoyed the scene for what it was, I didn't need all of it. Had it been a play we were watching, I think FD made the scene come alive and it would definitely play well before an audience. In the dinner scene the focus is off Rodya too much for my taste, even though you could argue many reasons for this being so: he's trying to stay in the background; he's out of his class; Rodya isn't one to get involved early on; he likes to wait and pick his spots, etc.

When Rodya reveals himself to Sofya: I found this scene to be very powerful because of the tension she demonstrates between her passion for God, her disgust, and her "love" for Rodya. It was - as Mark mentioned - time for Dostoevsky to inject God into his novel, and she was the right character to bring it out. Still, that's not what moved me. Her back and forth (flings herself on the bed and then gets right up in his eyes, turns away and then places her hand on his chest), was the ultimate in inner conflict. I loved it. I kept thinking that if she truly was a "bad girl" she would have been free to acknowledge any carnality she might have, and throw her fellow sinner on the bed for a consummation of evil. Her mortification solidified her purity, and in many ways designated her prostitution into the category of "didn't really happen". That having been said, I found her character nosediving at the end. She was wonderful in her sadness and in her refusal to let him seek his fate on his own (and as his conscience at the bottom of the police stairs), but she died out for me in the epilogue, and I found no reason for her to be as exalted by the prisoners as she was. I get why she stayed with Rodya, after all he was her earthy"savior"- to go with her heavenly one -, but she didn't come across as divine.

Boy this is long!

The Ending and the Epilogue: I'm glad the novel ended with Rodya's admission of guilt. Having Rodya leave the police room and meet up with Sofya on the stairs and then go back was a brilliant move. It shouldn't have ended any other way. I was also pleased with Rodya when he went to see his mother, a act that raised my estimation of him tremendously. The kneeling down scene was also a wonderful touch, and, I agree, much more important because he doesn't do it for show. I'm not sure I liked him choosing to avoid Porfriy; I thought the man had done Rodya quite a favor by letting him make the choice on his own, and deserved the collar. As far as the Epilogue goes, I'm back and forth on that. There's always a danger of spoiling the story with an epilogue (Tolkien has moments where he hurts Lord of the Rings with his extended epilogues, in my mind), and there's not a lot of real value in them if a writer does too much. Do I really need to know all that much about Razmuhin and Donya? His character disappears (as does many of the better characters) after Part 5, and most of what happens with him is expected. I get that Rodya's embracing of God is an important thematic element, but I don't know if it moved me at all. Of course, as one of you (Rob or Mark) nicely pointed out, his theory failed because he killed for no reason, and selected poorly. It could also be argued that he failed because he wasn't truly great (he was just a big fish in a very sordid pond. The people he hobnobbed with were of considerably low class, so of course he would shine under these circumstances. Sort of like an adult kicking ass on the Jepoardy teen tournament). Still, I would have enjoyed a more evil end, with him sitting there critiquing his first go around, and making adjustments to the theory for his eventual parole! HAAHAAHAAHAA!

Thanks for the experience Fydor, Mark, and Rob. At some point I'd like to discuss the role of Charity in the novel (but not on-line). There's a lot of people helping the unfortunates, in this novel.

What's next?

Crime and Punishment: Part 3

2007-02-10T16:20:00.000-08:00

Well that was much easier than the last two parts!

After trying to get past the 1st chapter of Part 3 for three days (I can't concentrate on Russian people at 10 0'clock at night), I decided to read all of Part 3 in one shot last night, and it wasn't too bad. In truth, the hardest part of reading the dang book is looking for smart stuff to say to the genius brothers! Here are this week's observations:

The Humor in the Novel - I have to say, C&P is shaping up to be a pretty funny novel (purposely or not). I've always found Rodya's nasty temper and pomposity to be a gas, but my lord that Razumikhin is a crack-up! His drunken, desperate, love-struck rant - mixed with his anger over the near fist-fight he laments not starting at his political party - is a joy to read! I love characters like Raz.: unpredictable, rightgeously emotional, willing to die for a cause (or love), compassionate, and loopy! Not to mention, his honesty during the discussion (chapter 2) of Rodya's true character scene (when he flambes his good friend with a scathing portrait) is so audacious he instantly became my hero!

Casual Violence in the Novel - Is it me, or do a lot of people in this book take a beating now and then? Heck, Raz. offers up himself ("You may beat me, if you like") to the doctor - another funny character - after making the doc sleep in the landlady's apartment for the night.

Mom & Baby Sis - I have to say, both characters are coming out much better than I expected. The mother - who brings up Marfa's death in chapter 2, but never bothers to explain who she is to Raz - is quite comical. She and Dunya seem to have a plan - or at least an understanding - as to how they're going to deal with Luzhin, that's a lot more autonomous than I expected. I don't think they're the helpless fools I originally guessed (kudos to FD). I was shocked, SHOCKED that they didn't bat an eye over Luzhin's request to omit Rodya from any future contact, AND that they immediately took action to disobey the request. That's what I mean by "they seem to both be on the same page". When Dunya announced her request for Rodya to join them for the meeting, old mom never said boo! By the way, isn't Dunya great? She really knows how to handle her brother in chapter 3. Her response to his reasoning as to why she would marry Luzhin really shows just how strong she is.

Inner thoughts - Is it me, or did we have a lot of inner thoughts in this part of the novel (especially chapter 3)? Rodya's inner thoughts are most definitely the key to discerning his true nature (duh!). In chapter 3 he asks himself "Why, are you all afraid of me?", which is a question he already knows, I'm sure. He also talks about hating women, don't we all. But, of course, the best moments of his inner dialogue come during Porfory's "interrogation". Was that not one of the 3 best moments in the novel (this is starting to become a redundant question)?

Chapter 5 - What the heck could any of us say about this scene that wouldn't be obvious? From Rodya's laughing (clever) entrance, to his murder-justification theory, to outwitting "the trap", this chapter is quite possibly the best one so far (I'd really have to go back to take this statement "off the fence".). I also enjoyed just how mad Rodya got during Raz.'s "helping"
moments, and how cocky Rodya got during his "On Crime" explanation. We all heard Howard Roark again, didn't we? Finally, I liked Rodya's attitude about catching the crook, and the crook getting what he deserved (for being so stupid as to have gotten caught). He has a very practical approach to the whole theory; he really wins you over to his way of thinking (scary).

I guess the only part of Part 3 I didn't enjoy was Rodya's detour back home, before he went to his sister's meeting. I get that he needed to decompress - and that FD needed to bring in Svidrigaylov so he could end the Part on a suspenseful note -, but I wanted to see the meeting between Rodya and Luzhin (which also shows how good a job FD's doing with the novel).

That's it! Unless I went into a true, philosophical discussion and dialogue (which is what Ford wanted us to do, so sorry buddy) on Rodya's "On Crime" (which I, strangely, see the rationale behind), there's nothing more to do. And that, dear friends, would be a LOT to do; and I have things to do...

Crime and Punishment: Part 2

2007-02-03T17:41:00.000-08:00

What a pain in the arse this book is! First of all, there are new characters to recognize, understand, and draw conclusions about. Not only that, but they don't come across they way I had originally expected them to.

Luzhin, as much as he lived up to being the ass he is, still turned out a lot different than I imagined. He was more interested in impressing a group of strangers with his powers of deduction, than he was establishing his social superiority (which, I suppose, is because he was extremely comfortable with the latter). He was also a bit of a dandy (did I read him wrong?), and more of a loser than I expected (living with a friend while he waits for his new home to be ready?). I expected someone a lot stronger, more distant, and Heathcliff-like. Boy was I off! By the way, fellas and ladies, did anyone else hear the voice of our dear friend Ayn Rand when Luzkin and Razumikhin discussed societal progress (or "The Progressive Cause") in Chapter 5?

As far as Razumikhin goes, what an impossible character to get a solid grip on. On one hand, he's this brilliant student that - according to Raskolnikov - the whole school reveres -, and on the other hand, he's a bit of a smoothie, and a dunderhead. He's obviously much smarter than Luzkin, but he allows himself to be strangely emotional over Raskolnikov, to the point of being abused! If he wasn't so "interested" in the landlady, I'd think he was hot for our "hero". In any case, he's too blind to see the many clues our boy has given him, yet he is respected enough to host a party that boasts quite a few of the local big shots!

A final character that seems to be more Shakespearean - and less "Angela's Ashes" - than I originally expected is Nastasya. Am I the only one who thinks that she's figured out the crime (maybe she went through the room when he was out, or washed some of the blood off his clothes while he slept), based on how forcefully she was repeating - right to Raskolnikov's face - how Lizaveta was killed too? Nastasya was NOT pleased with the 2nd killing, at all. There's a real interesting character at work here, and, as I mentioned, she reminds me of MANY of the great Shakespeare women (see: Portia: The Merchant of Venice, Mistresses Ford and Page: The Merry Wives of Windsor, Hippolyta: A Midsummer Night's Dream, and Maria: Twelfth Night). Interesting that they're all from the comedies...

Now that I'm done with this look back at a few key characters, here's a few more thoughts:

The scene at the Police Station was one of the best in the novel; I'm happy to read it again in the near future.

I'm really annoyed with the way Raskolnikov has handled the ill-gotten booty. Sure, he's a lot better off sitting on it for awhile - which was discuss during the rewarding bar conversation he has with Zametov in Chapter 6 (one of my favorites) -, but it's annoying to me that he'd be so careless with something he paid dearly for. Heck, it's not like he can take it back, so he might as well figure out something to do with it (the money). My motto is: If you've done the crime, you might as well enjoy the spoils!

The in and out of fever thing is a valuable addition to the plot. His illness allows him so much freedom! He can, and does, turn from people (mostly towards his wall) whenever he feels the urge. He can say fantastic - albeit it humorously and dangerously true - things, and totally get away with it. He can insult, predict, faint, ramble, and sweat with the best of them. In fact, his illness gives him a bit of an alibi. Even though he passed out after the crime, he must have been building up the illness long enough to cast doubt (just not in Nastaya's eyes).

I am whole-heartedly enjoying listening to Raskolnikov "solve" the crime for people. I love every moment that the murder is mentioned. What kind of idiot goes back to the crime scene? I never would have gotten away with HALF the stuff I pulled in college (I was quite the prankster) if I adopted ONE-THIRD of this guy's doltish behaviors.

The doctor is an interesting character. I smell "Hack".

I have a footnote in Chapter 5! On page 145 of my book, Luzhin and Razumikhin are discussing "progress" and Razumikhin says "We've grown used to having everything ready-made, to walking on crutches, to having our food chewed for us. Then the great hour struck,* and every man showed himself in his true colors." The "great hour" he's referring to is the emancipation of the serfs in 1861. It's funny, but this sounds a lot like America, 2007 to me. We are told we cannot take responsibility for ourselves any more. Our students cannot be trusted to select healthy foods for themselves. I must wear my seatbelt or I shall suffer a fine. It's Big Tobacco's fault that a person who smoked 2 packs of cigarettes a day for 30 years suffers from cancer. And on, and on, and on... Is our "Great Hour" coming?

The street music girl (act of charity # 2 or 3 for our boy?). Name a character in a novel SHE reminds you of! I'll bet it's written by: a. Dickens b. Dickens, or c. Dickens

How much is FIVE COPECKS in the late 1800's?

Here's a great line from Chapter 6: "She was young and not repulsive. The only one of the group." Isn't this what we're all hoping for, when out picking up chicks?

OH! So there's this great moment (Chapter 6) when he talks about standing in one spot forever, if you had to pick one spot. Do you guys remember this part? I thought this was a really cool question, and I plan on figuring it out soon. What is the one spot, the one view, that I'd like to enjoy, for all eternity (if I had to pick just one)? It'd have to be a place I'd been before, and not some fantasy nonsense. You ever have that conversation when you were younger? You know, the one that asks: "If you could date anyone, in the history of the world, who would you date?" Someone always picked Helen of Troy! I never got that. I'd never met her. What is she had really horrible body odor? I pick a girl I already knew (Kim Henderson, maybe).

What's up with the suicide girl? Brown, nasty water.

I'm not a fan of Raskolnikov's flippancy (sp?) with his mother's heavily mortgaged rubles. What is this, a Holden Caulfield connection?

Marmeladov's death was both unexpected and brilliant (another episode with horses!). Is our Robin Hood on his way? How much more blood will find it's way on our hero's clothes? Will the little girl - ala Nancy in Sin City - grow up to be a romantic interest for our boy? What will happen to the gaudy Sofya, now that the family has a few rubles to spend? Will she make her way to the Salinas Valley, in search of Kate and a new house of ill repute (that one was for you Lydia - read East of Eden you guys!)?

Stay tuned for next week's blog...

Crime and Punishment: Part 1

2007-01-27T17:43:00.000-08:00

Ok, so the 1st part of the novel has officially been read! The 1st two chapters were a little difficult to get into, and I didn't get going with the story until after Raskolnikov's mother's letter. Still, that had a lot more to do with my busy schedule, and less with Dostoevsky! Before I get into any specifics, let me state a few things for the record: 1. While attempting to read this novel one night, I was interrupted by an old friend with news of his recent arrest, and subsequent sentencing of 10 months of house arrest, and some new "jewelry" for his ankle. As always, art and life go hand in hand. I didn't get to read that night, but I do think I reflected on the novel's themes in a more CAPT question 3, Response to Literature way. My God, I miss my old life... 2. I have not yet decided how I plan to format these blogs, so this may be the way I do it for each part (with an overall commentary, and then a few specifics), or it may not. What the heck, this is a blog, not a Thesis. 3. Like everyone else, the Russian names are frustrating me, but I'll survive. No matter how many Checkov plays you read, or smart you are, Russian names are much harder to keep track of (especially with the first, middle, and last name thrown at you all at once - my god, who'd want to keep typing those names all the time?) than Joe Blow, and Rob Fabrizi. Finally, 4. I'm really glad to be reading this novel, and, so far, I like it very much. I could easily read another Part tonight, but we all have to wait for our buddy MF to catch up!

Specifics:

1. I think it's really interesting that FD starts the novel off with Raskolnikov's plan already in the works. This struck me as terribly efficient, and a great way to hook the reader from the get go. R's nasty attitude and superiority complex - coupled with his dilapidated outer-garments - instantly gets you wondering whether or not you're going to find yourself rooting for this character, or against him.

2. I found myself thinking a lot about Dickens while reading the first part of the novel, and Victorian Literature in general. Much like any good Dickens novel, you really need to keep track of all of the characters, since there's a better than average chance you'll run into them again. The Alyona Ivanova's and Marmeladov's of the novel - as well as the drunk girl (on her way to The Little Red Schoolhouse, I imagine) and her drooling suitor in chapter 4 - would easily fit into any one of the larger Dickens' novels I've read. So would Mr. Svidrigailov, Luzhin, and you get the point.

3. At this stage of my reading life, the drunkard character has been done too many times for me to underline all of his words of inebriated wisdom. Yes, Marmeladov has a few philosophic things to say, but I've heard most of them before (largely by my roommates in college).

4. I liked the mother's letter a lot, but I liked even more how Raskolnikov broke it down and read between the lines in Chapter 4. When he starts using some of the more reprehensible characters as metaphors for future behaviors he observed (such as when he referred to the fat dandy in Chapter 4 as Svidrigailov, and resigned the drunk Lydia character to the Darya Frantsovnas of the world), I was both pleased with myself for knowing who the hell is who in this darn novel, and with FD For adding that extra layer. Remember: Sonia's life is no worse than a life with Mr. Luzhin.

5. Connecting Marmeladov's daughter with Raskolnikov's sister was pretty clever.

6. "Anyway, he must decide on something, or else... "Or throw up life altogether!"" (44, in my book). I think about this sentiment quite a bit. I think we all do.

7. Who hasn't drank a little too much vodka and fell a sleep in a bush for a while? I hope this isn't the reason why FD is considered great! If this is the criteria for greatness, I know a few self-proclaimed poets - myself included - from college that should be Literary Gods by now.

8. The dream REALLY upset me. I had my hand over my heart half the time, and I even covered my eyes and peaked at the page once or twice. There's a few things in this world that REALLY bug me, and animal cruelty is one of them. I won't ever lose this scene from my mind. Thanks a lot Dostoevsky! I'm sure the helpless horse is symbolic in it's inability to meet the impossible demands of it's owner, to the Russian poor, or some other such nonsense that we'll figure out in a few weeks.

9. I liked how he "looked back" at the choice to walk through the Hay Market at just the wrong (or right) moment. This practice of identifying turning points in a person's life (which I first considered after reading an excellent essay by Mark Twain, called "The Turning Point of My Life"), is one that I really enjoy, in any form.

10. Mark and Rob" Why do writers sometimes just give the first letter of a word, and then an underline follows it? E.G., He's from the Province of N _ (62, in my book). In "The Devil and Tom Walker", Tom says "The D_ take me, if I have made a farthing!" Hemingway also does this to aviod using the F word in A Farewell to Arms. I've always wanted to know this.

11. Great moments of suspense in the last chapter of Part 1. FD does an excellent job with the whole murder/robbery. Is anyone else guilty of wondering if by walking on a newly painted floor, Raskolnikov has left a trail right to his house? It may be a stretch, but I did go to the same school that boasts the teachings of Henry Lee.

Well, that's all for now. I hope this wasn't too much for you all to read. I'm going to go read Ford's Blog now, and wait for the rest!

Readings: 2006

2007-01-18T19:08:00.000-08:00

So My Pal Rob Ford Has Decided To Blog His Readings For The 2006 Year! Not to be outdone by my esteemed colleague, I figured I'd follow suit and post mine too! I hope this information is accurate; it was a long year!

In no particular order:

East of Eden, by JS (OK, I really read 1/2 of it in December of 2006, and 1/2 in January of 2007)

I think I'll be writing up East in a day or ten (when I get the time). This was one of my most pleasant reading experiences in a long time (and I really liked Fountainhead, Don Q., and P&P, so that says a lot)

Don Quixote, by MC (A summer to re(ad)member - terrible joke! A lot has been written already about this novel, so I'll just say that I'm very glad to have read it, and I definitely enjoyed Part 2 more than Part 1.)

The Fountainhead and Anthem, by AR (I still like Atlas the most! The character of Howard Rourke is one of the best I've read, in any novel. I also liked Gail Wynand, and Toohey. While I enjoyed Dominique's character very much, I didn't like a lot of her choices - the marriage to Peter Keating above all else-, and I liked Dagny Taggart in Atlas much more. I also didn't care for the breakup of Rourke's friendship with Gail, but I "get it". There were a BUNCH of great moments in the novel: most of them involving scenes where we see Rourke's genius in action. I would read Fountainhead again in 10 years, but Anthem was nothing special to me.).

Portnoy's Complaint, by PR (I get why the book is so famous. The sheer audacity of the writer -to say taboo things that everyone knows to be the truth, and share experiences that many people have had - is impressive! Especially the scene with the mother standing at the sink, and the blooddrop on the floor! Still, I laughed aloud a lot, but I couldn't wait for the novel to end. There was nothing about the main character that I liked, and the narration got old, fast. )

The DaVinci Code and Angels and Demons, by DB (Fun stuff! Easy to read (both books took a total of four days). Great art/history lesson. Why does the guy always ruin his stories in the end? These books were a great way to share a reading experience with my wife - who would rather not read heavy novels like Don Q.-, and for that I'm grateful. They also reminded me of my days in Europe. Again, that was nice. Still, I got very mad when the real bad guy was revealed in both novels. I though Brown's need to be clever - and unpredictable - hurt the stories. In Angels, I think everything after they take off in the helicopter was awful. I almost threw the novel away. DaVinci is a much better novel, in my humble opinion.)

Oliver Twist, and A Christmas Carol, by CD (Not happy with OT, but I loved Carol. I have to say that I was surprised that I didn't like Twist more. I know Fagin is a recommend character - and he was great-, but I didn't think The Artful Dodger lived up to his billing at all. Oliver was ok, but he didn't suffer nearly as much as I expected. The old man who liked to read - and who saved Oliver - was a great, kindly character, as was the girl/prostitute who also helped. All in all, I much prefer Great Expectations. A Christmas Carol was outstanding, and I'm very glad to have read it. I wonder which Dickens novel I should read next?)

Heart of Darkness, by JC (I wasn't a fan of this novel. Ford loves it, but it didn't do it for me)

Slaughterhouse Five, by KV (I liked this more than I expected. Glad to have read a novel of his)

Pride and Prejudice and Emma, by JA (Loved P&P! Emma was only ok. The characters in P&P were much better)

The Jungle, by US (Great start, dull end. I got the message UP.)

Frankenstien, by MS (Too many complaints to mention. Is it a great novel? Yes. Did I like it? Not really)

- Suck it Ford!

The Brotherhood of the Grape

2006-08-27T15:30:00.000-07:00

Recently, I had the pleasure of viewing a new film - on DVD - called Ask the Dust, a movie based on one of my favorite novels by John Fante. Although I had my doubts about the casting of Matt Dillon in the lead role of Fante's semi-autobiographical hero Arturo Bandini, I could not resist seeing the story on film. At worst, the film would bring back a few memories of my youth; the days of late night college nights and reading coming alive once more. At best, I would experience some of the sights and sounds that had been dancing around in my head for over a decade, and I would get to see that wonderful ending of Fante's in full visual glory. I was not disappointed. The film was better than I expected - still not perfect - and my evening, a highlight of the summer, was too. One pleasant after-effect of viewing the film was an insatiable desire to re-read one of my favorite novels, The Brotherhood of the Grape. Since this was to be the summer of weighty texts - most notably Don Quixote and Emma -, I thought it would be soothing to take a break from the constant need for intellectual validation, and spend some time off the high horse (or donkey, in Sancho Panza's case). Less than 24 hours later, I had filled my soul once again with the simple genius of Fante, a writer I have been most fortunate to experience in my reading life (thanks to Charles Bukowski).

Rather than go into Fante's biographical tale, answering too many questions on his personal history and literary timeline, I thought I'd spend a few lines taking about the typical themes, style, and subject matter of a Fante novel. Fante's novels, in my opinion, are about struggling to accept identity, heritage, and familial responsibilities, while also exploring individuality and chasing dreams. His novels attack the basic human conditions (mostly in the ethnic lower and middle classes), with a stripped down, raw, street-like flavor. He is not as harsh as Bukowski, nor as intellectual as Knut Hamsun, Saul Bellow, or Dostovesky (a hero of Fante, and his protagonist Henry Molise in Brotherhood ), but he is capable of uncovering honesty, the root of people's pain, and the sadness - the burden - of wasted, unattainable dreams. Fante writes in a language everyone can understand, and though a little gross at times (nasty prostitutes and decrepit old nurses who use enema bags on themselves after sex come to mind as solid examples), he makes you feel like he's talking to you, instead of over you. Truly, Fante is not out to impress his readers with his vocabulary, his education, or his cleverness. As an ex-wannabe writer, I can say that reading a novel by John Fante is an inspiration. Fante's reader/writer- in- training is encouraged by the unpretentious style, and less than inconceivably brilliant - and daunting - structure and depth one would find in a walk through a Dickens novel or a Shakespeare play. Fante, like Bukowski, and, dare I say it, Hemingway, makes a reader feel like his or her dream of becoming a writer is not so impossible. I like that about Fante. Finally, another aspect of Fante's novels that I enjoy is his strong Italian upbringing - complete with all of the cultural peculiarities I've seen or experienced in the Italian- rich town (and household) of my youth - which resonates in his subject matter, settings, characters, conflicts, and themes. The Brotherhood of the Grape is pure Italia!

An in-depth plot summary of this most excellent novel would be a disservice to anyone considering the quick read in the near future. Still, there should be some room in this small pondering of mine to mention the set-up, and a few small moments that always elicit the greatest pleasure. The novel focuses on the gruff, hard-headed, aging, alcoholic Nick Molise - stone mason extraordinaire- , and his eldest son Henry (strangely enough one of the only Fante protagonists not named Arturo Bandini) coming to terms with each other (if that's possible). The cantankerous old bastard and his wife of 50 plus years have a huge fight, and it's up to the eldest son - the other children are worthless- to go and resolve the situation. Along the way, Henry re-lives the days of his Italian youth, and attempts to come to terms with his tyrant of a father. Henry, like most of Fante's heroes, is a successful writer who has risen above his upbringing to earn a certain amount of hard won fame and financial security. His refusal to learn and work in the family trade is a sore spot for the old man. Most of the story plays out in the mind, experiences, and past of Henry Molise, but he's not, in my opinion, the novel's most resonate character. Nick Molise is a character worthy of Henry Chinaski, Wolf Larson (although not a drunkard), and Lt. Frederic Henry. Nick's gambling habits, fisticuffs, and Dionysian thirsts are compelling. His evening tours of great buildings raised by his own talents are inspiring. For a terrible father, a unfaithful husband, and a town embarrassment, Nick is strangely sympathetic, and the reader genuinely roots for him. The family's long suffering at Nick's hands can be seen in numerous, and humorous, ways without feeling a moment of sadness for the children's life-failures, due to the rottenness of their father. This is not to say the novel has only one great character; the quintessential Italian mother, the baseball - obsessed younger brother, Mario, and the god-like winemaker, Angleo Musso, are all wonderful. For these reasons, and all of the wonderful moments - the pissing in the mother-in-law's gloves and the day at Musso's vineyard come to mind-, The Brotherhood of the Grape is a favorite. Finally, the novel's title conjures up some vivid recollections of all of the old Italian men of my youth, sitting around a table drinking homemade wine, and chattering on in their Italian, broken English mix. A society of hardworking tradesmen, bonded by their love - and dominance- of family, their incomparable stamina, their beloved homeland, and their appreciation for all things carnal.

Bellow, Shakespeare and Bukowski

2006-08-01T09:11:00.001-07:00

Bellow's impact on my reading life could not be overstated. Reading his books (I've read 5 of them, but not Augie March) has been a sublimely rewarding experience in many ways. Not only are his stories complex, insightful and interesting, they actually make you feel smarter after having read them (I liken the experience to reading the New York Times Magazine or The Economist). Henderson is my sentimental favorite, but More Die of Heartbreak had me underlining passages like a madman. Bellow is very brainy, and strikingly cognizant of the complexities - and cost - of poorly matched relationships. His characters strive for something exceptional; they allow themselves to get caught up in the moment and taken away on spontaneous, often dangerous adventures, and they often stand aloof from most of society. There's also a heavy Jewish, Russian Literature/Art/History, and Chicago influence in his work that I enjoy.

King Lear has always been my favorite Shakespearean drama, and I almost had it on my list too! Sadly, I saw a terrible production of the play 2 years ago that lessened my passion for the work. It's hard to say there's any one play I like the most. I've acted in A Midsummer Night's Dream, so that's a sentimental favorite. Twelfth Night is actually a newer version of The Comedy of Errors (Plutarch's The Menechmi stands as the original source for both plays). I prefer Twelfth because it's superior in its characters, design, etc., yet Comedy is underrated, in my opinion. Shakespeare's place in my literary/artistic life is peerless. I've read and seen 23 of the works.

As far as Bukowski goes, his books really fall into 4 categories. There's the novels, which tell the autobiographical story of one Henry Chinaski, an ugly, angry, abused, self destructive man who goes through childhood (Ham on Rye), into adulthood surviving the hard knocks of a cruel and unfulfilling job market (Factotum), and the terrible relationships (Women) he "enjoys". Post Office completes the series because it's at that time in his life that his years of drinking, hoboing and gambling, coupled with a thousand nights of writing poetry while staring into the bottom of a whiskey bottle, pays off and he finds his artistic future - and leaves the drudgery of civil service. The books of short stories (most notable Tales of Ordinary Madness and Notes of a Dirty Old Man, if I remember them correctly - I've read over 20 of his books) are fun, weird and interesting too. Still, I prefer novels to short stories, always have. Then there's the books of letters, most of which were publish posthumously by Buk's wife. Those are really interesting if you find letter writing to be a lost art form - I do - and you fancy yourself - and a good buddy of yours - bound and published for the entire "cool" world to read and genuflect to. Finally, there are the books of poetry, which are substantial. There's no particular volume I like more than another just poems I've remembered over the years. He's a hit-or-miss poet, but a true original. Out of all of the college students, housewives and freaks, he's the guy who actually makes the drunken ramble work. Interestingly enough, the book I first read by Bukowski was Hollywood. It's about the making of Barfly, a movie Bukowski wrote that documents a small period in his life. Pulp is an interesting detective novel (also publish posthumously) wherein the main character is searching for Celini (who's dead at this time in history) in the bowels of Los Angeles bookstores (at least that's how I remember it; it's been a long time). Look out Raymond Chandler! On a final note, Bukowski has lead me to John Fante (The Brotherhood of the Grape and Ask the Dust are excellent), much like Ernest Hemingway led me to Beryl Markham's West with the Night (which should have been on my Runners Up list).
I'd read Ham on Rye or Hollywood first.

The Top Ten (and then some)

2006-07-30T19:07:00.000-07:00

Ok -

So here's my "Top Ten" favorite books ever read. This was a much harder challenge than I expected. It seems there's quite a few criteria that must go into the selection of a top ten, especially when a person knows the difference between quality and cute, with quality being a major source of enjoyment.

Here's how I figured out my rankings: 1. The book has to "speak" to me in some way. The philosophy, historical setting, themes, or characters must "say" something to me that is deeply personal, or inspiring. 2. The book must be of exceptional quality, meeting all of the criteria of what I consider "great" literature (I'm not listing them here). 3. The book must have been read during a special time (phase) in my life that I can recall when I think of, peruse, or re-read the book (the "romance" of my life is important). 4. The book had to have made me excited to keep reading, and immensely impressed with its story/characters/narrator or what have you. 5. The book had to make me feel like I was know "in the know" or part of a special club. 6. The book must be able to be re-read many times, and never grow stale.

I guess that's it. I'm sure that I could think of a few more.

Oh, also, there's a few books that couldn't make the list that I really wanted to include, because they've meant so much to me and I'd hate to ignore them. For this reason I've included a "Runners Up" list.

And, I've "cheated" a little by failing to select ONE play by Shakespeare - I could just pick his entire works but I haven't read them all yet - and ONE book by Charles Bukowski (they're really all the same story). In these two cases the play/book I like the MOST comes 1st.

Here they are (drumroll please):

1a. To Kill a Mockingbird
1b. All of The Great Brain books, by John D. Fitzgerald
2. The Importance of Being Ernest
3. Twelfth Night, A Midsummer Night's Dream, and The Comedy of Errors
4. One Flew Over The Cuckoo's Nest
5. For Whom the Bell Tolls
6. Henderson the Rain King
7. One Hundred Years of Solitude
8. The Hobbit
9. Woman, Ham on Rye, and Factotum
10. Fear and Loathing in Las Vegas

Runners Up (in no particular order):

Great Expectations, the "Incarnations of Immortality" series by Piers Anthony (with "For Love of Evil" being the absolute BEST of the 7), The Electric Kool Aid Acid Test, Absalom, Absalom, Lust for Life, The Sun Also Rises, A Moveable Feast, Atlas Shrugged, The Age of Innocence, East of Eden, The Brotherhood of the Grape, A Farewell to Arms, More Die of Heartbreak, The Glass Menagerie, A Streetcar Named Desire, Middlemarch, The Lord of the Rings, Love in the Time of Cholera, and The Grapes of Wrath.