Review Thursday: It pains me to say it, but...

It's unfortunate when you are the second book to write about layoffs and office life in the first-person plural. Man, would that suck, but such is the zeitgeist. I'm trying to write about fictionalized office life, so I'm interested in books that do it well. Because working is boring, writing about work is boring. When a writer captures the mundane and stifling in a fresh, even inspiring way, it's a truly remarkable accomplishment. When books about work take off, I think it's through capturing some kind of idiosyncratic singularity (like Ferris's book or the underrated Big If by Marc Costello) or the workplaces is a kind of accessory to the an overall commentary they are making to American culture (Palladio).

Another book I'm looking forward to reading is Among Other Things I've Taken Up Smoking, if for no other reason as it has an amazing title. Also, More Than It Hurts You, by a former teacher, Darin Strauss. It's gotten great notices, and I like the is-it-or-isn't-it premise about Munhausen by Proxy, and the attendant satirical tone.

Review Thursday: Dissolute Cities

“Nothing in this book can be considered reliable or accurate,” reads the jackassy disclaimer of James Frey’s third foray into fiction, Bright Shiny Morning. I haven’t read the book, so I can’t comment on whether or not the writer who’s making self-aggrandizement cool again has mastered a sense of originality, I only remember being in the minority of people who thought A Million Little Pieces was corny and overblown. At the time I received of the phony memoir, I was reviewing books for the Quality Paperback Book Club, and I couldn’t fathom all buzz the book was getting. It’s main claim to fame seemed to be using Capitalization and punctuation incorrectly to Make. A. Point. Man. Also the bloody, no painkillers airplane scene. That was Intense. But it never seemed particularly Real. So Oprah revealed him as a Big Fake. Big Whoop.

This time around, people seem to be responding to Frey’s portrait of LA, or at least Janet Maslin is, pulling a Michiko Kakutani and writing the review of his book in his style. I just want to know why are people so impressed with writing like this, when there are so many similar, better books? It’s the same thing I thought when I picked up Charles Bock’s Beautiful Children. I had read it talked up in Elle (don’t mock me, they actually devote an admirable amount of ink to books), and so reserved a copy at the library. From all the advance notice, the book promised to be a riveting portrait of sketchy types in Las Vegas—you know, criminals! Broken dreams! Strippers! The porn industry! I like my salacious literary reads as much as the next girl, and I was all primed for a seedy vision of Las Vegas to wash over me.

Man, was I let down by this book. It felt as though the writer tried really hard but a book that should have been populated by the richness of intersecting lives had tumbleweeds rolling through it.

More than that, both books seem a pale shadow of an overlooked favorite of mine, a novel that takes a panoramic view of Los Angeles and delivers something funny, powerful, emotional, authentic and edgy. Not just James Frey posturing “edgy,” either. Really edgy. That book is I’m Losing You by Bruce Wagner.
In an overflowing plot too complex to explain, Wagner gets up close to the lives of everyone from a heartbroken studio exec to a crazy masseuse who believe she can steal people’s energy. What continually impresses me about his writing is how well he modulates tone—one minute biting and satiric, the next, emotional and lyrical. I’ve always thought that his deserving novels are not given the praise and attention they deserve because they are about Hollywood, and regular people, for some reason, don’t read Hollywood novels. But in I’m Losing You and the later Still Holding (and you have to get past the groaning phone lingo inspired titles) he draws a bead on the human experience in extremity and comes up with something as invigorating as it is wrenchingly emotional. Wagner’s books always make me want to write, and for a populated panorama of a dissolute city, these more recent contenders just can’t hold a candle.

Review Thursday: Lush Life by Richard Price

I confess: I’m a huge Richard Price fan from way back in the Clockers and Freedomland days. I stuck with him through the slim and somewhat unsatisfying Samaritan, and it was with excitement and trepidation that I discovered that he’d tackled a scene much more familiar to me than the Jersey projects that form the environment of most of his novels: the gentrifying Lower East Side.

“In New York, 30 is the new 50,” I heard Price say in a radio interview, and his novel piles the humiliation onto one of its key protagonists, Eric, who works at a sort of Schiller’s doppelganger in the Lower East Side. Eric has glimmers of talent, but in his mid-thirties is confronting the fact that he may not have enough to make it in the big city. When he’s on hand for the shooting of a fellow employee, his life is turned upside down when the cops suspect him of the crime, which readers know early on was the work of a couple of nervous projects kids.

Pick up Clockers and Freedomland, and you’ll basically find yourself clearing your schedule in order to finish the doorstoppers. Written in highly literate and yet suspenseful prose, the dramatic setup in both books are humdingers: Freedomland goes inside an explosive Susan Smith-like child murder and Clockers takes you inside a crack dealing subculture through a gripping Cain and Abel story that contains an electrifying twist.

Lush Life, on the other hand, has no such fundamentally gripping archetypical struggle at its core. The murder is kind of, for lack of a better word, underwhelming, and what’s more, you know who did it early on. From the point of view of Matty, the lead detective on the case, “Most murderers, when he finally caught up to them, pretty much never met his expectations. For the most part, they were a stupid and fantastically self-centered lot…Survivors, on the other hand…always appeared to him as larger than life.” The passage struck me as odd, because for much of the book, Price seems to sympathize more with the murderers than the defeated Eric.

I admired Price’s quest to depict colliding worlds on the Lower East Side: the worlds of the projects, the hipsters, the cops, and the Chinese, but I thought the panorama was more compelling than the meat of the story. Without a strong story hook, everything’s world got kind of equalized, and in that case, it’s easier to see the hipster interlopers with a kind of contempt. What’s happening with Eric, the survivor, and the victim’s family don’t seems as compelling when there’s no larger dramatic question to solve.

Lush Life has Price’s usual crackling prose, his top-notch dialogue, but in the second half, the book really feels inert. I finished it and enjoyed many parts of it, but can only recommend it with reservations.

Perseverance

I don’t like walking around with a chair on my head. If given the choice, I’d prefer not to crazily wave my arms around and make animal noises. If you ask me to do an interpretative dance about a flower rising from the ground, I might just stand there, staring at the floor, wishing I could disappear.

So then what was I doing in an acting class? I’d always considered myself a “serious” writer and filmmaker, someone who could weave words or bits of film together into a seamless whole, so imagine how naked I felt when I had to leave those props behind in a special acting class for film students at NYU called “the Actor’s Craft”? I know I was completely out of my element with the improv games and the yodeling contests until the teacher asked us each to bring in a story. We were to perform a monologue about our “defining moment.” This, I could handle. I was a serious writer, after all.

I thought about one particular moment when I was ten years old, and I really wanted to play basketball. I thought about what I found when I showed up at the first day of practice at the City Civic Center Youth league: seven boys and the coach staring back at me as I entered the gym. I barely knew the difference between a point guard and a forward, except that one of them was supposed to be in the front, and suddenly I found myself in a group of boys who seemed to have basketball hardwired to their brains. I wasn’t sure which was more intimidating, running with these guys during games, desperately trying to find a footing, or afterwards, when I would head off by myself to the decrepit and disused women’s locker room. I remembered leaving that silent and empty space, going home and begging my parents to let me quit. They reminded me that I was the one who signed up, and so I would have to follow through with my intentions and play out the entire season.

It was this last part that I focused on in my presentation to Actor’s Craft. I skimmed over the misery and told the class about how the experience had defined my sense of determination. Every good story needs a driving theme, and I was sure that mine had one, something important about perseverance in the face of a challenge, stick-to-it-tiveness, never-give-up-and-you-can-achieve-anything-ness. Because if this story were a TV movie, could it end with anything other than this brash ten-year-old misfit sinking the game-winning three-pointer? Good stories demand creative license, drama, and by God, that was something I was prepared to deliver.

The teacher of Actor’s Craft didn’t ask for the TV movie version, though she did want us to use our defining moments for something that might demand a little creativity. She was going to assign each of us a partner, and we would meld our “defining moments” into something new and improvisatory. The details of the assignment grew hazy as I realized that I was to be paired up with my secret class crush: a brilliant flame-haired film student named Mike. I decided that I could learn to like this improv thing. The beauty of the actor’s craft was opening up to me, now that I could use it finesse a romantic subplot into the mix.

I went over to his dorm one night after class. I ignored the Grateful Dead he had playing in the background—I wasn’t going to let it spoil the mood as both of us circled in on each other’s “defining moments”. His was suitably grand and cinematic: he remembered watching the aurora borealis from the top of some mountain in Canada that he had hiked to with a Deadhead pal of his. Mike had been absent the day of my basketball monologue, so I told him the whole story.

I could see him thinking about it, as Jerry and the gang grooved on behind us. “I know it might be hard for you to relate to being the lone girl on all-boys basketball team. But really, it’s a story about . . .” I began. I could see that now was the time for self-revelation. And I decided to give him the real, unvarnished me, and not the TV movie version. “It’s a story about being . . . an outsider,” I finally said.

He thought about it, really tried to delve into his mental files of experience. For Mike was a “method” man; besides being a talented filmmaker, he had this acting thing down pat. He had no problem walking around with a chair on his head.

He scrunched up his face and frowned. “It’s just that—“ he began. “It’s just that I don’t think I’ve ever experienced that.”

I looked into his bright green eyes and they just didn’t seem as compelling. I was prepared to overlook the Grateful Dead thing, the tie-dyed shirts, the fact that he was just a touch, okay, maybe a lot shorter than me. But this? He had never felt like an outsider? My crush burned away like the cone of incense he had stationed on his tapestry-covered dresser. I could see now that we would never unite.

Still, our stories had to. “That’s okay,” I said. “Because, you know, it can be looked at in a different way, as a story about . . . perseverance.”

“Perseverance . . . okay,” he repeated. “So what about we’re both playing basketball, but we’re like really committed to the game, only the aurora borealis is up in the sky above us, while we’re playing . . .”

There’s always room for revision. An inept ten-year-old basketball player had gotten cut and so had my budding infatuation, but Mike still held out the promise of a happy ending. And as our newly minted universe lit up and took a life of its own, it was a small consolation but a real one: two happy hippies playing basketball with dogged determination while the Aurora Borealis glittered above them, the offspring of a union that was never meant to be.

I read the news today oh boy

When I first came to New York, more than ten years ago, it was a bad time to be a writer, an artist, any sort of creative person. A democrat was in the White House, the economy was booming, and crime hadn’t been so low since 1964. It was difficult to walk down the street without a venture capitalist hitting you with a sack of money. Recent college grads were landing jobs with fat stock options and titles like “Director of Advanced Mixology” and “Imagineer.” You could become a millionaire playing around on the internet in pajamas.

Even I couldn’t help but be touched by the boom. I sent a fake writing sample to some start-up called imaposeur.com or something, and got a call a few weeks later: how would you like 200 bucks to write a column? Sure. How would you like to write the lead feature of our launch issue? Sipping champagne on each level of the three-level launch party in a loft downtown, I was drunk on power. Those were different times. Who’d want toil for ten obscure years on some work of staggering genius when you could be an Imagineer, have your own office with a margarita machine? Why would you want to write about suffering when you could get a dollar a word for writing a feature about natural deodorant or slacks made out of organic cotton? We were all a little stunned then, what with being hit by the sacks of money and everything.

Of course, things have changed. Terrorism, blackouts, war, recession. Is it the 1970s again? Maybe. Alls I know is that every day NPR wakes me up with another scary warning about the economy falling apart, and at least I know one thing: I don’t have to worry about somebody luring me away from my dark garret with promises of untold riches and incredible stock options.

Review Thursday: Another Dull and Lurid Year

The other day I was in Posman Books at Grand Central Station, where they always have a really great browsable table of fiction. I started talking to this woman who was holding a copy of Joshua Ferris’s And Then We Came to the End. She was shopping for her husband’s fiftieth birthday or something. I was psyched that someone was actually that jazzed about fiction. So from so many great choices, I hand-sold her my two favorite books from the last year and a half or so: the Josh Ferris and Claire Messud’s The Emperor’s Children.

On Amazon, Emperor’s Children has a couple hundred reviews, and opinion is totally split. I have to say at first it sounded like some kind of hoity-toity bourgeois-fest, a novel of manners, apparently, revolving around a rootless trio of privileged 30something Manhattanites. I had seen Messud speak once at Columbia and it seemed like she wrote super thinky artsy little novels. I was swayed, however, but one of those excellent Slate Audio Book Clubs about it. They called Messud a kind of modern-day Edith Wharton (who happens to be another writer that I feel is severely underrated because she’s female and writes about the subtly of human interaction). Once I got into it, I found Emperor’s Children completely engrossing, a “literary page turner” as some critic said. It was smart and you wanted to keep reading it. That’s not to say that the characters always felt true or that Messud really has an authentic grasp of the environment she’s writing about (I've read a lot of people pointing out how she puts her own British/Canadianism into the mouths of bona fide American characters). But the book did have a lot of power and imagination behind it—and what’s more, it’s one of those books that made me want to write more.

Ferris’s book is so buzz-worthy that you kind of want to hate it—it’s the literary version of “The Office,” it’s written in the third-person plural, it uses the ad world to sort of reflexively comment on Our Times. But once I got past the gimmicks and the jokiness, I found myself thinking about how one of my teachers at Columbia, Richard Locke, spoke about Nabokov. I would always ask Professor Locke how is that Nabokov is so £*$&!*&$ amazing. His answer was that Nabokov was a master of combining pity and delight. And so in the best, most incredible moments of ATWCTTE, you’re totally buzzed on the language, the humor, the inventiveness—delight—and then Ferris will hit you with the revelation of some profound frailty in one of his characters. Those juxtapositions produce a lot of wow moments in the book. I totally agree with a lot of people that this book could have been trimmed like 100 pages, but read it, it’s worth it.

I’m one of the world’s laziest readers, I’m always starting books and then not finishing them, so a book has to do a lot for me to stick with it. These were my wow moments in reading for the last year, but I’m always open to suggestions.

And for all the DeLillo nerds out there (I can’t be the only one), Ferris’s title is the very first sentence of DeLillo’s debut novel, Americana. Neat homage!