- Who knows what evil lurks in the heart of men? The Shadow knows!
- So if I understand Sarah’s post correctly, James Wood and sheepshagging jokes represent a new kind of nonoverlapping magisteria, and someone needs to start uploading racy photos of James Wood in lewd positions at Cabo San Lucas damn pronto. Also, Mark Sarvas has read How Fiction Works six times. And that was just in the last week. It remains unknown just how many times James Wood has read himself. But all this talk of how one should read James Wood, and whether one should read James Wood, and how frequently one should read James Wood makes me wonder why nobody is actually responding to what James Wood has to say about books. To add further confusion, James Wood is also leaving comments at Vulture. I can only conclude that all this is a grand ruse to get James Wood on the cover of Entertainment Weekly, perhaps accompanied by Stephenie Meyer and two naked Dixie Chicks with post-structuralist buzz words printed on their naked bodies.
- Tao Lin has posted some details on his second novel. And if he’s concerned about The Easter Parade being 54,000 words, consider also that The Great Gatsby is only around 50,000 words and would therefore fall into Tao’s organic cold-brewed iced coffee category. (As Shane observes, Tao’s post has been deleted.)
- John Fox sings the praises of Small Beer Press, but neglects to inform us just how much beer he imbibed before writing his post.
- Colleen collects a number of interesting reactions concerning class and YA literature.
- Scott has a few ideas on where litblogs need to go in the face of declining newspapers.
- Wyatt Mason talks with Adam Thirlwell. (via Orthofer)
- Superhero motifs and book design. (via Slushpile)
- The Watchmen trailer appearing with The Dark Knight has caused sales of the graphic novel to jump. But the Moore-Batman association is also boosting sales of Moore’s Batman: The Killing Joke. What is the lesson to be learned here? Appearances of books on film and television (such as placing The Third Policeman on Lost) do help. But I believe these books sold because (a) the movie trailer is considered a respectful and relatively noninvasive form of advertising and (b) Lost, being a television show with numerous references, has led numerous fans to ferret out the meaning by any means necessary. In other words, it isn’t just the appearance of a writer’s name or a book that moves books. It’s the context. The way that a book’s appearance and relationship with the present material inspires curiosity on the part of the reader. The way that the context itself doesn’t treat audience members like morons or a generalized 18-34 demographic.
- Speaking of which, Douglas McLennan has some interesting things to say on this topic. (via Dan Green)
- According to Forbes, J.K. Rowling has been named the richest celebrity. And it’s certainly promising to learn that an author can trump a number of idiot actors. Sorry, Tom Cruise. Guess you’ll have to expand your dynamic potential through that Ponzi scam masquerading as a cult.
- And I missed the news a few weeks ago, but Solzhenitsyn’s The First Circle is at long last coming out in English.
Author / Edward Champion
More on McCain and the “Liberal Media”
Rush Knows Changes Aren’t Permanent, But Change Is
Alligator
The alligator gnawed upon the stray shreds of flesh flapping along the boy’s femur. The boy’s pallid face had long melted into the joyless hearth of the dead. Not a face the alligator would recognize, much less the police upon discovering the chewed up body weeks later. The boy would never know the pleasant furrows that thickened in middle age, the initial panic upon discovering the disappearing hairline, the giddy shock that came from losing virginity, the many mistakes to be made and made again, and the happy realization that came from knowing nothing. The alligator had known some of this in her twenty-two years, loosening many eggs and watching tiny tails spiral away after a mere year. The alligator, however, was not sentient enough to understand the intricate workings of the Judeo-Christian calendar. She could not understand holidays, weekends, or even the two dollar Tuesdays that had been erected ignorantly in her honor (“Grab a Gator beer before seven!” shouted a wet bartender a hundred miles away), and certainly didn’t waste her scalar energies worshiping a god. But she remembered the pokes and prods from the farm and had been actuated by some primal vengeance directed towards any intruders in the glades, whether human, lower on the food chain, or perfunctory nuisances that great jaws could reduce and transmute into acceptable nutritional value. The alligator only consorted with humans from these tertiary vantage points. But the boy and the alligator occupied the same natural realm, shared more in common than they could ever confess to each other. Even if this duo could somehow work out an interspecies communicative conduit. Even if the boy could walk away like a Dickensian cripple, hopping proudly on one good leg while hailing a hackney, and passing along a tale decades later beginning, “Let me tell you about the morning in which I met the alligator.” All the boy and the alligator had at this present moment was crazed conjecture. Sometimes, this was enough to get by when there weren’t any explanations.
Kevin Smith vs. The MPAA, Take 2
Kevin Smith’s forthcoming film, Zack and Miri Make a Porno, is, at least for the moment, rated NC-17 “for some graphic sexuality,” pending appeal. What is exceedingly frustrating here is that the MPAA, true to its character, isn’t being transparent about what this “graphic sexuality” entails. Last month, Seth Rogan spilled some details to the press, reporting that the skirmish between Smith and the MPAA apparently involves a sex scene between a man and a woman. And while News Askew reports that the MPAA is now reassessing the current cut of the film for an appeal, there’s been nothing specific about the situation on Kevin Smith’s blog.
The MPAA has gone after Smith before, most notably for Clerks, which was originally slapped with an NC-17 rating merely for its raunchy dialogue. But there’s a larger question here about why the MPAA continues to maintain an antediluvian attitude on “decency.” The young audience who will watch this film will likely get their hands on the unedited version (assuming Smith loses this battle) once it hits DVD. But if Smith were to unload the specifics about his situation, going to the press with the same highly detailed fervor that he has before, he could very well reopen the very important debate on why incredibly violent films like Hostel are slapped with an R, while films featuring the naked human body are considered verboten for the shopping mall crowd. But if he can skirt around the appeal, this may not be an issue.