Publishers Weekly asks, “Is Book Publishing Too Liberal?” They talk to several anonymous industry people about it–anonymous people. Doesn’t that strongly allege the answer to their answer is yes?
“Politics is a dangerous thing to be candid about,” said one agent, who has worked with conservative authors. “It’s now acceptable to ban speech on college campuses; this is the world we live in.”
Marji Ross of Regnery Publishing says many conservative authors are dismissed by mainstream publishers or treated contemptuously. An unnamed literary agent said you can tell the industry is too liberal by the mere fact that you have a few “conservative” imprints and no “liberal” imprints. Liberal ideas are treated as normal and published through the majority channels. (via Trevin Wax)
This is not a joke.
From the book page: “Once upon a time, people yearned to be free of the misery of capitalism. How could their dreams come true? This little book proposes a different kind of communism, one that is true to its ideals and free from authoritarianism.”
Historian Philip Jenkins has looked into it and found it isn’t tongue-in-cheek. It’s deeply ignorant. Does it point to Stalin or Mao Zedong as examples of pure communism at work? Of course not. Labor camps? We’ll do it right next time.
Should it not be said that a solid scholarly consensus now accepts that this record of violence and bloodshed was a logical and inevitable consequence of the communist model itself, rather than a tragic betrayal or deformation? Evil Joseph Stalin did not distort the achievements and goals of Noble Vladimir Lenin: rather, he fulfilled them precisely. Pursuing the “for kids” framework, should we not see some equally cheery volumes such as A Day at the Gulag, and even (for middle schoolers) Natasha Is Shot as a Class Enemy? How about Springtime for Stalin?
(via Prufrock News)
Marvel’s latest Netflix series Iron Fist has its moments. There’s a fight with a hatchet-wielding gang that’s reminiscent of the hallway battle in Daredevil’s first season only a step less exciting. I don’t know if that’s because it reminded me of the earlier scene or the hatchet fight was less dramatic. But it may be that this fight would have been better in a better context. As they say, a rising tide lifts all boats.
I don’t want to write a negative review of Iron Fist. I want to love it, but somewhere in the middle I began wondering if the story could be told differently, and by the end I thought it was relying on clichés. How many master warriors or chosen heroes say they need to complete their training? Just about all of them nowadays. Did a gunslinger ever say, “I need to get back to the Broken Hand Ranch to complete my training”? This is the story of a man who has been given the mantle of The Iron Fist, living weapon, protector of a holy city against an eternal enemy.
Before I finished the series, my wife and I watched Jackie Chan’s 1994 action-comedy The Legend of Drunken Master. It’s hilarious overall and increasingly intense. The finale was amazing, somewhat comical, and exhausting. When Chan’s character confronts the strongest henchmen, a tall man who relies on kicking, you wonder if Chan can really win. I know Iron Fist is a completely different show with different skill sets, but it didn’t have fighting anyway close to this.
In many Kung Fu movies, someone confronts the hero with his gang, and they begin fighting two on one, then four on one, then eight or sixteen. A formula like that would have been perfect for a gauntlet run Danny undertakes in the series’ first half. He does start against two, but then he moves to a one-on-one of a very different nature and then another one-on-one with a type of weapons master. That last one is pretty good, but could we not bring in eight or more guys in the middle of that fight to increase the intensity?
Another common scene in Kung Fu movies is when the master happens into a gang of thugs who won’t let him go without a fight. He takes them down without breaking a sweat. Danny sweats through every fight. Maybe the writers considered similar ideas and left them in rehearsal. Perhaps they considered them cliché.
Continue reading The Fist of Iron and Clay
Do you want more math in your literature? Do you enjoy statistics (or is it damn statistics (or should it be damn yankees and their statistics?)?)?*
Well, Ben Blatt has you covered.
The first literary mystery to be solved by numbers was a 150-year-old whodunit finally put to rest in 1963. Two statistics professors learned of the long-running debate over a dozen contested essays from The Federalist Papers, and they saw that they might succeed where historians had failed. Both Alexander Hamilton and James Madison claimed to have written the same 12 essays, but who was right?
The answer lay in how each writer used hundreds of small words like but and what, which altogether formed a kind of literary fingerprint. The statisticians painstakingly cut up each essay and counted the words by hand—a process during which “a deep breath created a storm of confetti and a permanent enemy.” And by comparing hundreds of word frequencies, they came up with a clear answer after so many years of speculation: the contested essays were distinctly the work of James Madison.
Blatt crunches the numbers on many works to see if writers follow their own rules and other trivia he learn. For instance, does Elmore Leonard follow his rule on sparse use of exclamation points? No. No, he doesn’t.
Dracula was published in 1897 by Archibald Constable and Company of Westminster, UK. It was released in the US in 1899 and ran as a serial in the Charlotte Daily Observer for the latter half of that year. In January 1900, Iceland’s newspaper Fjallkonan began its serialization of the novel, translated by the paper’s editor Valdimar Ásmundsson. He gave it the title Makt Myrkranna (Powers of Darkness), and according to The Times Literary Supplement, it was eighty-five years later before anyone noticed the significant changes Ásmundsson made to Bram Stoker’s work.
Powers of Darkness: The lost version of “Dracula” has roughly the same bone structure as Stoker’s original, but is split into two parts, the first being the journal of Jonathan Harker (his name is changed to Thomas Harker), recounting his stay in the castle in the Carpathians. In the latter part, however, there is no epistolary element, and the story is taken up by an omniscient narrator. Part One reads like a long first draft, in which the author maps out his characters and surroundings – it is, in fact, almost twice as long as the original.
(via Prufrock News)
S-Town is the to-rave podcast of the month. It comes from the people who make This American Life and the podcast that spawned 100 imitations, Serial. I heard about Serial at some point in the middle of the run, I think. Maybe it was at the end of its first season. I heard many good things from many people, but I never listened to it. Podcasting, developed in 2000, just hasn’t been my thing, because portable tech hasn’t really been my thing. Whenever I heard a podcast, it was through my PC, kind of like the cans-and-string method. Only in the last few weeks have I begun to use a loaner iPad for something it’s actually good at.
So I was ready when I caught word of the new S-Town, which released all seven episodes on March 28. That initial word described a true crime podcast, but S-Town is a different story. (spoilers)
It begins with the wildly colorful, possibly genius John B. McLemore reaching out to Brian Reed about a murder that happened in his home town, Woodstock, Alabama, about which he needed a barrel of venom to describe. Everyone, including himself at times, was a loser, a failure, an idiot, and many more vulgar labels. His old school was Auschwitz. The police were corrupt. The county had one of the highest rates of child abuse and molestation anywhere. At least a couple people asked John why he didn’t move away since he hated the place so much.
John B. can work himself into a fit by thinking of how no one is outraged over countless liberal talking points, and this murder is a prime example. Everyone knows who did it. The man himself has bragged about it. Why doesn’t anyone give a rat’s rear-end?
The story shifts from that question to focus on John B., which isn’t a selling point. He’s a babbling brook of liberal outrage and profanity. He can’t tell Brian about the many flowers and butterflies on his property without worrying that they’re dying off. By episode two, I was already telling him to shut up. Two of the people who may have cared about him the most pushed him away because they couldn’t bear up under the weight of his poisonous worldview. Continue reading New Podcast Is Both Curious, Repulsive
“The Benedict Option fails to ask how black believers have survived racial, economic, and social marginalization with their faith intact.” Jemar Tisby offers an important perspective to Rod Dreher’s new book, a book he has mulled over for at least ten years. When considering options for the persecuted church in America, it seems natural to look to those portions of the church that have lived through persecution, but as Tisby writes, this is a continuing blind spot for many white people.
The reality for many white believers is that Christians of color may provide inspiring stories of resistance and are certainly nice to have on display in the congregation, but they are not a true source of wisdom for the white church. To some white Christians, the faith traditions of racial minorities may offer great aesthetics like preaching or musical style, but they don’t have the legitimacy to lead the way into the future. The constant refusal to learn from the black church can only be termed ecclesiastical arrogance.
The Real Reason the Benedict Option Leaves Out the Black Church
Dreher did start a conversation about the black church four years ago, asking why it hadn’t influenced communities more. That doesn’t answer Tisby’s critique, but it does offer a bit of context.
Danny Rubin, who gave us the wonderful movie Groundhog Day, thought he’d found his place in Hollywood after that film’s success. Everyone wanted to talk to him, and they all wanted him to do the same thing he’d done before. S. I. Rosenbaum interviewed him for Vulture.
He kept writing scripts for his own ideas, and he kept selling them, pretty steadily, over the years — to Universal, to Amblin, to Castle Rock, to Miramax. But none of them were produced, and even when one of them spent some time being developed, Rubin would often be booted off the project. He wrote a movie about a woman; they asked if it could be about a man. He wrote a silent film; they asked if it could have dialogue. “People weren’t responding to my stuff by making movies out of it,” he says. “They were optioning it, but then there were the same arguments over and over: They were trying to make a movie I said I was expressly not interested in making.”
The man behind Groundhog Day has proven Hollywood is stuck in a loop of its own making. (via Prufrock News)
What makes Dostoevsky’s characters so real? They aren’t just mouthpieces for the author’s voice. Peter Leithart describes it.
Dostoevsky’s polyphonic world is full of free subjects, not objects. We don’t know what they might say or do next, and we suspect that the author doesn’t know either. They speak in their own voices, and Dostoevsky doesn’t drown them out. His voice is only one among many.
But Dostoevsky is also concerned with the suppression and source of true human freedom. “True freedom is love, the capacity to sacrifice one’s Ego for the good of others.” And the only way to sacrifice one’s Ego is to surrender to Christ. (via Prufrock News)
“Life is suffering and it is violent, so overwhelming is it that we cope by voluntarily consenting to spiritual deafness,” Michael Rennier observes. “The reality of sin must be forced home to us by an act of divine violence so that our pretensions can once and for all be torn away.”
This is what he draws from Flannery O’Connor’s life, which is being featured on PBS in a new documentary, Uncommon Grace. Director Bridget Kurt agrees. “She wasn’t using violence to glorify it; she was showing how extreme moments in our lives are spiritual wake-up calls.”
Like the time when an escaped convict points a gun at a grandmother’s head. In that moment, all of her religiosity melted out of her, leaving her nothing but Jesus. She could have been a good woman had someone been there to threaten her everyday. That would have been respectable. But she didn’t need to be a good woman. She needed Jesus.
Perhaps O’Connor is just too Christian for secular schools. Kurt , a transplant from Northern Wisconsin, found less help than she expected when looking for material on O’Connor’s life.
“Even at her alma mater, GSCU in Milledgeville, very few students that we ran into on campus knew who O’Connor was,” Kurt told Milwaukee Magazine. “In Wisconsin, most of us know that Frank Lloyd Wright was a Wisconsin native because we are taught about famous Wisconsinites and we name libraries and schools after them. I’m not sure how much Flannery O’Connor is taught in Georgia schools.” (Via Prufrock News)
“Imagine a runaway slave novel written with Joseph Heller’s deadpan voice leasing both Frederick Douglass’ grim realities and H.P. Lovecraft’s rococo fantasies…and that’s when you begin to understand how startlingly original this book is.”
This is how Kirkus summarizes Colson Whitehead’s novel, The Underground Railroad, a finalist for the 2016 Kirkus Prize. The novel is not historical fiction, because the central idea is existence of a slave-rescuing railway that runs through tunnels beneath the states.
Betsy Child Howard says it isn’t a fun book, but “sometimes we must look with open eyes at the evil humans can perpetrate themselves or countenance in others.”
In 21st-century America, we too often assume that those born into privilege are the deserving, without taking into account the generational effects of enslavement and Jim Crow on those we label “undeserving.” Whitehead is too good at his craft to spell out modern-day implications of our country’s dark history, but they reveal themselves.
Milton, as much as Shakespeare, remains our contemporary. As Wordsworth put it in a sonnet from 1802, ‘Milton! thou shouldst be living at this hour:/ England hath need of thee.’ One half of a nation almost as bitterly — if not as bloodily — divided as in his day needs to understand how the blind, scorned radical, ‘though fallen on evil days… In darkness, and with dangers compassed round’, channelled his dismay at the failure of England’s revolution and the restoration of monarchy into a masterpiece that finds salvation through despair. In 1660, Milton was arrested, imprisoned and might have gone to his death as an impenitent regicide without a few well-placed admirers. His epic, with its aim to ‘assert eternal providence/ And justify the ways of God to men’, climbs from his pit of disillusion to find meaning and hope in calamity. A hero for Remainers, then.
Boyd Tonkin urges us to read Milton today, because he will speak to us if we will listen. April is the 350th anniversary of Paradise Lost‘s publication. (via Prufrock News)
I’ve let other things crowd out St. Patrick’s Day for me. My days have plodded steadily this year. I haven’t given much thought to future plans, but remained within the day.
Still, out of respect for the day, here are two poems with kinds of longing.
Patrick Pearse, “On the Strand of Howth” : (Entire poem)
Speaking in the night;
Of the voice of the birds
Happily, with melody,
Seamus Heaney, “Mid-Term Break”
I was embarrassed
By old men standing up to shake my hand
And tell me they were ‘sorry for my trouble’.
Whispers informed strangers I was the eldest
Read more through the links.
If you’re familiar with the classic novels featured in these six second videos, you’ll get the joke. Ad agencies have produced several of these quick takes by YouTube’s request in pursuit of a new, flash ad format to be displayed before other videos. At six seconds each, the ads can’t be skipped past.
In a similar vein, The Wild Detectives bookstore in Dallas is trying to “troll people into reading classic books through clickbait.” They call them “litbaits.” Headlines read, “British guy dies after selfie gone wrong” for The Picture of Dorian Grey. The links led to blog posts with the all of the book’s content included. That wouldn’t turn anyone away, would it?
And chalk another one up for the Oxford comma under reasons it is saving the world. A group of Maine dairy drivers took their company to court to win overtime pay. The law defining exactly what was excluded from overtime lists many things, but it lacks one thing: an Oxford comma.
The law states, “The canning, processing, preserving, freezing, drying, marketing, storing, packing for shipment or distribution of: (1) Agricultural produce;
(2) Meat and fish products; and
(3) Perishable foods.”
The drivers argued that while they do distribute food, they don’t pack it, so the exemption applies to “packing for shipment or distribution” and not to the distribution. The Circuit Court judge began his decision, writing, “For want of a comma, we have this case.”
Rod Dreher’s The Benedict Option is being released tomorrow. Collin Hansen reviews it here.
My main fear with Dreher’s book is that the people who need it most won’t read it. How do you convince Americans that replacing fast food and cable news with fasting and hard labor will be good for their souls?
Overwhelming evangelical support for Trump suggests not many conservative Christians would agree with Dreher that “losing political power might just be the thing that saves the church’s soul.” Rather, they seem to believe the American Empire needs our partisan politics in service of God’s kingdom.
Dreher will have many interviews this week. This one with Russell Moore is bound to be one of the better ones.