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Ordinary Horrors

Carnegie Library, Mankato

7/29/2022

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This is the old Carnegie Library in Mankato, Minnesota, where I spent much of my youth.

​The children’s collection was over on the right-hand side of the building in this photo, and the newspapers and periodicals were on the left. The Blue Earth County History Collection was down in the basement along with some newspaper archives.

The children’s side had a nice display of the Maud Hart Lovelace Betsy/Tacy/Tibb books. I read some of those books in third grade or so, and the children’s room had a big map of Mankato (“Deep Valley” in the books) in the Betsy/Tacy world and I thought that was pretty cool, and time I the spent trying to figure out the relationship of Mankato past and present is something I still do whatever place I happen to be at whatever time I’m in.

I didn’t much care for children’s books, though. The only one I actually remember was about a kid who built a soap box derby car (does the soap box derby even exist anymore?) and took it to Toledo for the big race and won against all odds, ho-hum.

I moved to adult books and history at a pretty young age. It seemed like children’s books were written to offer lessons or inspire and I didn’t like lessons and I was not inspired. Now, adult books—the things that happened in those books were inspirational! Drinking whiskey and driving in cars and blowing things up and doing sex (though that remained kind of mysterious). These were positive life goals—even for a fourth grader!

The big gift of the library—of books in general, and of my mother, who introduced me to reading and encouraged me to read—was its ability to take an often-unhappy kid anywhere. Everywhere. There was definitely an escape aspect to reading. I could get out of Mankato, or West Virginia, or wherever I happened to be, and be someplace—better. But reading also offered a window into the complicated and mysterious world I’d somehow found myself in. I guess reading offered an—education? A way of understanding my situation, and a context for what I saw around me. A way to cope.

​Go read something.
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Tolstoy Together

10/22/2021

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So here’s something. Tolstoy Together—a twitter book club, reading War & Peace. Such fun! Led by the wonderful novelist Yiyun Li, we read 12 to 15 pages a day, and post our thoughts to Twitter.

This is the second time through. TT began during the first covid lockdown and was terrific, and resulted in a nice little volume of selected tweets. I have a minor contribution to the book and was/am delighted to be a part of it. 

As a side benefit of Tolstoy Together, I am amassing a nice collection of War & Peace slides, which will be handy if I ever teach the book in a class--which I would love to do....

Everybody needs to read War & Peace. Everybody who reads W&P should get Tolstoy Together….
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Reading at Malvern Books!

12/29/2019

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Malvern is great! People came, we sold some books. Thanks!
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A New Year, Alive

1/6/2018

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I was sadly and stupidly ill over Christmas break—got sick right as Fall final grading was beginning (try grading when you’re sick sometime—it’s unpleasant) and I stayed sick through the New Year. A fitting way, maybe, to end wretched 2017—worn down, with a weird and seemingly endless cold. A fucking uncommon cold. But I survived.

Helping greatly with my healing were the three Cass Neary novels by Elizabeth Hand: Generation Loss, Available Dark, and Hard Light. Cass Neary is the greatest character of 21st Century American Literature—a damaged human, knowing and cynical and resourceful and funny. One of the great pleasures of reading a novel is identifying with a character who’s about to do something you know they shouldn’t do—and you’re yelling aloud—“NO! DON’T DO IT!”—and then of course they do do it. Cass does it—whatever the it is she shouldn’t do—over and over again. Fun.

Read them.

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It's a Book: The Messes We Make of Our Lives

8/6/2017

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Now available for your reading and admiration. Cover art by the fabulous Reji Thomas!
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A Great Book Out of Print: Now Playing at Canterbury

10/4/2014

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Now Playing at Canterbury, by Vance Bourjaily. Here's the book situation: a group of academics and theater professionals get together to stage a faculty-composed opera at a fictionalized version of the University of Iowa--and things happen. Stories happen. Life happens. Magic happens.

I love this book so much.

I remember the day I bought my first copy: 19 years old and coming down with a cold, I was in a Minneapolis bookstore looking for something to read while I suffered. I saw NPAC, a mass-market paperback edition. I vaguely remembered a review a year or two earlier in Time--was it on the year's 10 Best List? I think so. Don't really remember. I bought it, though, and took it back to my squalid, mouse-infested apartment, and I read it pretty much straight through in one sneezing coughing Nyquilling sprint, caught up in the magic of the stories and characters in this book.

I loaned that book out to someone, never got it back. No problem. I bought other copies, loaned them out, too. Read it nine, ten, fifteen times. Gave away more copies. Bought new ones (used ones), learned from the writing. Went back to it again and again.

In grad school my thesis was supervised by James Hannah, whose thesis at the University of Iowa was supervised by...Vance Bourjaily. I found this amusing and pleasing, my lucky proximity to greatness.

But--you know what? Now Playing at Canterbury is out of freaking print and has been for several years! How is that possible?

So. Here is what you need to do: go grab a used copy and read it right now. And lobby to somehow bring it back into print....

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This book is a survivor.
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Any random page of this book is good.
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Page Turners

8/3/2014

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You really need to read this book.
So I stayed up all Friday night/Saturday morning reading—and it wasn’t even a terrific book. Kind of a crummy book, in many respects: HMS Ulysses, by Alistair Maclean. According to Wikipedia, it was his first novel, and it reads that way, like the work of an inexperienced writer, with lots of grating POV-switching, clumsy subplots, and leaded dialog. But! I read it. In one sitting—because it was a successful page turner. HMS Ulysses is the story of some guys on a British warship during WWII escorting a convoy through the Arctic to Murmansk, and they have to deal with weather, submarines, cruisers, aircraft, mutinies—the old Ulysses was a tough place to be. Enough stuff happened that, despite the clumsy writing, I was compelled to read on and find out what was going to happen next. (Spoiler: just about everyone dies).

A “colleague” once contemptuously said to me, “Your writing has a lot of action in it,” like that was something to be ashamed of. And, as offensive as he was as an alleged human, he was correct—I do have things happen in my books (though no sea battles or mutinies—yet). Action for me is a way to demonstrate the emotions of the characters without weighing everything down with boring “feeling-writing.” Literary writers can learn a lot from the writers of thrillers
—Megan Abbot, for example, in her wonderful superb terrific Dare Me is a writer who demonstrates high literary qualities while also having things happen--things like tension and suspense. We all need to find a way to keep the pages turning…or keep the readers turning pages....

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Reading at Malvern Books

7/13/2014

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Books on display at Malvern.
When I was in Austin last month I did a reading at Malvern Books—a wonderful independent bookstore. It was a great time--saw so many old friends, made some new friends. I read from the beginning of Professed, and then read a chapter from my novel-in-progress.

Reading from from a work-in-progress is kind of odd. Because it's not done yet, because the meaning of the piece is not quite clear yet. Still, I think it all went off pretty well...


If you weren't there, you missed out.

But, if you missed out, you can watch it below....
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What They Profess: Readings

11/17/2013

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The characters in my novel, Professed, are all English teachers or students, and they read a lot. This post is the first in what will be an occasional series discussing the books they read….

Larry McMurtry, Walter Benjamin at the Dairy Queen: Reflections on Sixty and Beyond


Toward the end of the “Dead Professors” chapter, Clayton texts Camille:
Im reading that mcmurtry book u gave me, he had
a bad heart too!

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Clayton has had a heart attack and is sitting around depressed. Camille gives him the book, which, in part, describes McMurtry’s depression following a heart-bypass. Camille’s goal, I guess, is to get Clayton thinking that he’s not alone in his reaction to illness—also maybe to kick him in the ass and get him out of the house, to tell him to quit feeling sorry for his bad-heart having self. Camille's feelings toward Clayton are—complicated. Though it’s also the sort of book Clayton would enjoy—not just the bad heart depression section, but also McMurtry’s use of Benjamin’s essay “The Storyteller” as lens to examine the passing of traditional Texas folk culture. 

Walter Benjamin at the Dairy Queen's a good book. Worth checking out
.

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Jennifer Egan and Ernest Hemingway: A Found Allusion?

9/6/2013

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PictureYou should read this book.
Today in the Fiction Writing class we read Jennifer Egan’s “Found Objects,” a story that first appeared in the New Yorker and is the lead narrative (chapter?) in her terrific novel, A Visit from the Goon Squad. I’ve loved this story from the first time I’ve read it.

One of the problems/annoyances I’ve encountered teaching fiction writing is that students very often want to write allegedly creepy and disturbing stories about violent…stuff. About serial killers, serial rapists, creepo stalkers, etc. I just get sick of reading them. They are never any good, they are always ill-imagined, and they never stop coming. One semester I had a class with 25 students, and 23 of them turned in stories about serial killers or rapists.

It was too much!

“What do you know about serial killers?” I asked the students. “Just what you see on TV, right? But I bet every single one of you knows a shoplifter—or is a shoplifter. So why don’t you write me a story about a shoplifter!”

And of course no one ever did, or has….

So, anyway, I bought Goon Squad just after it came out in paperback, and I carried it around for a year and a half before I actually got around to reading it. And of course I fell in love—it’s a wonderful, beautiful book. But I was especially thrilled by “Found Objects” —a story about a kleptomaniac, which is sort of like a shoplifter. Finally, I had a petty theft story to share with students.

And so I was rereading it this morning before class, and I came across a short sentence that I missed the first time I read it, a short sentence that sparked a shock of recognition in me

“It’s almost like she did it on purpose,” Alex said. “For attention or something.”

“She didn’t seem like that type.”

“You can’t tell. That’s something I’m learning, here in N.Y.C.: you have no fucking idea what people are really like. It’s not even that they’re two-faced— they’re, like, multiple personalities.”

“She wasn’t from New York,” Sasha said, irked by his obliviousness even as she sought to preserve it. “Remember? She was getting on a plane?”

“True,” Alex said. He paused and cocked his head, regarding Sasha across the ill-lit sidewalk. “But you know what I’m talking about? That thing about people?”

“I do know,” she said carefully. “But I think you get used to it.”

“I’d rather just go somewhere else.”

It took Sasha a moment to understand. “There is nowhere else,” she said.

There is nowhere else.

Where had I read that before? That—or something similar?

In Hemingway. The Sun Also Rises.


It was a warm spring night and I sat at a table on the terrace of the Napolitain after Robert had gone, watching it get dark and the electric signs come on, and the red and green stop-and-go traffic-signal, and the crowd going by, and the horse-cabs clippety-clopping along at the edge of the solid taxi traffic, and the poules going by, singly and in pairs, looking for the evening meal. I watched a good-looking girl walk past the table and watched her go up the street and lost sight of her, and watched another, and then saw the first one coming back again. She went by once more and I caught her eye, and she came over and sat down at the table. The waiter came up.

 "Well, what will you drink?" I asked.

 "Pernod."

 "That's not good for little girls."

 "Little girl yourself. Dites garcon, un pernod."

 "A pernod for me, too."

 "What's the matter?" she asked. "Going on a party?"

 "Sure. Aren't you?"

 "I don't know. You never know in this town."

 "Don't you like Paris?"

 "No."

 "Why don't you go somewhere else?"

 "Isn't anywhere else."

 "You're happy, all right."

 "Happy, hell!"

Isn’t anywhere else!

Is this a deliberate allusion by Egan, or just a coincidental line of dialogue? If it is deliberate, why? Is there some connection
--across time, across texts--between Sasha and the prostitute? I don’t really know. But it was fun to find this. We live in such a very mysterious world—and, just like the characters in Goon Squad are connected and networked and intertwined, so too are the products of our culture, our books, our music, our movies….

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    Lowell Mick White

    Author of the novels Normal School and Burnt House and Professed and That Demon Life and the story collections  Long Time Ago Good and The Messes We Make of Our Lives.

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