The links below are to articles reporting on the death of author Clive Cussler.
Is the novel dead? The link below is to an article that looks at that question.
I remember coming across the original article being referred to in this article on Booktopia (incidentally the bookseller of choice for me when it comes to printed books in Australia), and the usual disdain it provoked. The link below is to an article that comments on the ebooks are dead report that emanated from Booktopia in Australia.
The link below is to an article reporting on the death of Betty Ballantine, an important figure in the development of the modern paperback.
The link below is to an article that takes a look at how to visit dead writers, or better still perhaps, on how to find them.
It was the first tutorial of the semester. The course was on American literature and film. The room was full of MacBook-toting undergraduates with the bright-eyed wariness that is the natural correlative to the first encounters of undergraduate seminars.
I asked my students to share their most-loved American text, past or present, high or low brow, in any genre or medium. One student said The Shining (1980); another rhapsodised about Breaking Bad (2008-2013).
Then a student volunteered The Great Gatsby (1925), and unwittingly set off a chorus of praise for its author, F Scott Fitzgerald. Student after student – almost half the class – professed The Great Gatsby as their American beloved.
Maybe that’s unsurprising. The declarations of love I educed from the students were, after all, shaped by the sociological conditions and institutional environment of the university. No doubt students bring along with them to every class an intuitive sense of the “appropriate” and “inappropriate” artefacts of study within the formalised, hierarchically-organised context of the university.
In the case of English or film studies courses, this sense is collaged out of personal and educational experiences in reading, watching, learning and writing about texts, liberally overlaid with the wider cultural whims of taste or aesthetic quality – however unstable or even arbitrary those directives might be.
The question of which literature is “real” literature, or of which films are “good” films, will hang in the air of the classroom even if a teacher seeks to ventilate it.
And a student’s perceived position among her peers in that classroom rises and falls, at least to some degree, on the kinds of texts or authors she aligns herself with at crucial moments in the social development of the class. That exercise on the first day of semester was a forced moment of disclosure for my students, who were made to introduce themselves to one another through the conceit of a most-loved poem, movie, novel, or play.
It’s like bringing a new boyfriend or girlfriend to dinner at your boss’s place for the first time: for good or bad, their repartee and table manners are going to reflect back on you.
In short, in spite of my attempts to open up the range of responses, it’d take a student of special confidence to confess to a bunch of strangers in a university classroom that they most loved, say, the Mary Kate and Ashley Olsen straight-to-video films from the late 90s and early 2000s. My personal favourites of which, I admit with less irony than you might assume, are Passport to Paris (1999) and Winning London (2001).
But Fitzgerald, on the other hand?
He has an extraordinary posthumous reputation as the modern American writer par excellence. The Great Gatsby in particular is lauded as the “Great American Novel,” though its path to canonical status was quite rocky. It is, therefore, as good a choice as any in the setting of a university English class – and a safe one, especially as more and more Fitzgerald hats were thrown into the proverbial ring.
No doubt, too, The Great Gatsby sprang to mind for some students due to Baz Luhrmann’s 2013 adaptation of the novel – a visually extravagant and frenetic film that was compelling for much the same reason that Nick Carraway, Fitzgerald’s narrator, is captivated by the “low, thrilling” musicality of Daisy Buchanan’s voice: because it is “full of money”.
But for at least some of my students, the love they expressed for Fitzgerald, elicited by and structured through their experience of reading The Great Gatsby, was genuinely felt. As the flush of initial interest suffuses into fixation, infatuation and devotion, those of us who find ourselves enamoured of books – and, importantly, their authors – might well recognise in ourselves the ontogeny of romantic passion.
It is out of this experience that cults of personality constellate around celebrity authors. The Jane Austen obsessives self-identify as Janeites; Sylvia Plath is worshipped as a patron saint of second-wave feminism. Just a few weeks ago, before my very eyes, one of my undergraduate students joined the ranks of the Allen Ginsberg cult, wooed by his biting, angry, hilarious poem Howl (1955) – 60 years after it was first performed.
To love literature, however, is quite a modern phenomenon. As literary scholar Deidre Shauna Lynch explains in her recent book Loving Literature: A Cultural History (2015), there was a shift in attitudes toward reading in the 18th and 19th centuries. Once a “rational, civic-minded” activity, reading became increasingly a “private and passional” one.
As a result, Lynch argues, in this period the literary text became a kind of affective time-travelling device, a mechanism for bridging “the distance between self and other and now and then”.
The reader who loves the literature of the past seeks to forge intimate connections with those who are no longer alive. In reading, we feel ourselves able to get up close and personal with a dead author. Indeed, it’s almost always through the act of reading an author’s writing that we fall for them in the first place.
To most people, this argument would feel abstract. We sit down with a book like The Great Gatsby out of a casual inclination to see what it might offer in social commentary or narrative pleasure, or to find out first-hand why it’s venerated as a classic work of fiction – or maybe just to finesse that dinner party conversation to make up for when our new beau makes a fool out of us in front of our boss.
But when it comes to the true believers – readers whose interest in literature tips over into the fanatical – I think the logic stands up.
It’s certainly evident in the way Fitzgerald’s editors talk about the best way to edit his writing. This is especially true when it comes to work that was unfinished at the time of Fitzgerald’s death, such as the novel The Love of the Last Tycoon (1941).
In a 2000 article in the F Scott Fitzgerald Society Newsletter, the editor Milton Stern described the task of editing an unfinished work by a dead author as a “vibration of mutual identity” that emerges from the editor’s “fine sense of what the author sounds like” and a “sympathetic presentiment of what the author would want”.
In Stern’s view, the editor experiences a dynamic identification with the lost author. Through the act of editing, she works toward a “mutual identity” that imaginatively reanimates the author’s lifeless body. Her revitalising ventriloquy speaks out the author’s choked, inchoate desires.
For editors such as Stern, and for those readers who obsess over authors of the past, literature is an inconstant lover, at once propositioning and rejecting us.
Books by dead authors, like photographs of them, function as material traces of loss, bearing witness to bodies that once laboured in writing and in life and that do so no longer. Their paradox is to make present, in the words on the page, the author who is absent. They produce desire for the dead author even as they stand in for the dead author.
To love literature, following this line of thought, can be to enter into a melancholy yearning for an impossible communion with the dead.
In the case of Fitzgerald, over the last couple of months, the amorous pursuit of his remains, as it were, made headlines. The Long Island mansion in which Fitzgerald lived with his wife, Zelda, for a couple of years in the early 1920s – and, apparently, wrote some or all of The Great Gatsby – went up for sale in May for a cool A$4.8million.
But to visit with – or be visited by – Fitzgerald, my students don’t need to scrape together cash for a stunningly large down-payment. The Great Gatsby is a ghosted edifice, a space in which Fitzgerald’s presence is felt, made palpable, in his absence.
Bookstores had a really bad week — at least in the world of blog punditry, where three industry figures I admire posted their takes on why bookstores as we know them are doomed. Seth Godin, in fact, goes further and says that books are dead too. Here’s a little reading for you:
The death of bookstores is a bigger problem for print books than ebooks
In a post titled “An industry pining for bookstores” over at the Scholarly Kitchen, management consultant Joseph Esposito writes, “With bookstores collapsing everywhere, the print business collapses along with it.” As bookstores close, Esposito argues, readers have fewer places to discover print books. Instead, he says, they learn about titles online — through Twitter, Goodreads, or Amazon pages. When it comes time to order the book, they have two options: A cheaper digital version or a more expensive print version. “Why pay for…
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The link below is to an article that looks at perfumes inspired by dead writers.
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The link below is to an article that asks the question, ‘is the editor dead?’
‘Collapse’ by Richard Stephenson is book one in the ‘New America’ series and I believe Stephenson’s first novel. The novel is set in the year 2027, with the USA falling apart. It is in the grip of the 2nd Great Depression and is at war with the Great Empire of Iran. The state of Florida has been devastated by a hurricane that has left over 1 million people dead and Texas is about to face the same fate. The government is about to fall. The people are descending into anarchy. What will become of the USA?
Though a first novel, the suspense and action of the novel is first rate. It is very easy to read and carries you along quite easily. However, there are serious issues with the grammar and spelling, as well as some fairly obvious errors in the actual text of the story. A good proof reader should have picked up on these mistakes and that would have resulted in a far more polished and professional product.
There is also a short sex scene tacked onto the end of the story which I thought was somewhat tacky and unnecessary. It did nothing for the story as a whole and was completely out of place in the overall development of the novel.
If you can see past these obvious flaws without too much prejudice, the novel is a very good read and I do look forward to picking up the story when the next book in the series is released in 2013.
Buy this book at Amazon: