Tag Archives: books

Do We Write Too Much and Read Too Little?

Mother Jones

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I don’t remember where I saw this yesterday—which might be a symptom of the very disease under discussion—but I wanted to pass along the following from Alan Jacobs:

One of the most reliable ways to sharpen your own thinking is to find out what other smart people have thought and said about the things you’re interested in — that is, to take the time to read. But the content-hungry world of online publishing creates strong disincentives for writers to take that time. Almost every entity that has an online presence wants to publish as frequently as possible — as long as the quality of the writing is adequate. And often “adequacy” is determined by purely stylistic criteria: a basic level of clarity and, when possible, some vividness of style.

….So writers tend to trust the first thoughts that come to them, rarely bothering to find out whether others have already considered their topic and written well about it — and in fact not wanting to know about earlier writing, because that might pre-empt their own writing, their publication — the “content” that editors want and that will keep readers’ Twitter feeds clicking and popping with links. In the current system everyone feels stimulated or productive or both. And hey, it’s only reading and thinking that go by the wayside.

Actually, in some circumstances it’s best not to know what other people are saying and thinking. In particular, there are times when I keep myself deliberately in the dark in order to avoid groupthink.

But that’s fairly rare. In general, I think Jacobs is right, and I’ve certainly found it to be a problem. When I’m in full-bore blogging mode, I just don’t have time to read anything longer than a thousand words or so, even if it’s something that I should read because it would inform my own thinking. Instead, I try to save it for later in the afternoon, which is when my writing pace slows down and I can spend more time reading longer pieces. But I’m only moderately successful at this, and in the end I find myself simply not reading enough these days. The pace of blogging interferes with my ability to slow down even when I’m not sitting at the desk and actively typing characters for a post.

Of course, there’s nothing wrong with just chatting about stuff, and to a large extent that’s what blogging and tweeting and tumblring is. Nor is it a crime to repeat something that’s already been said. Some things are worth a lot of repetition. Finally, despite a lot of wailing to the contrary, it doesn’t strike me that the rise of blogging and social media has actually hurt the production of books and long form journalism much. It’s all still out there and it still gets read.

Still, this is something to be aware of. Ironically, it’s also something that’s been written about to death. But it doesn’t hurt to write about it again.

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Do We Write Too Much and Read Too Little?

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Dot Earth Blog: What’s the Best Bet When Weighing Cornucopians and Catastrophists?

Bill Gates explores society’s fascination with overstated arguments in a review of a book on resource debates. From:   Dot Earth Blog: What’s the Best Bet When Weighing Cornucopians and Catastrophists? ; ;Related ArticlesWhat’s the Best Bet When Weighing Cornucopians and Catastrophists?Dot Earth Blog: Engineering the Climate – Colbert’s ‘All-Chocolate Dinner’The Ethicist: The First Amendment Right to Nonpolitical Homework ;

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Dot Earth Blog: What’s the Best Bet When Weighing Cornucopians and Catastrophists?

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Marcel Dzama’s Artwork Is Totally Twisted (and I Totally Dig It)

Mother Jones

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The prolific Canadian artist Marcel Dzama is not yet 30, but he’s accumulated a body of paintings, collages, sculpture, dioramas, costumes, and film-design work that would be impressive from someone decades his senior. You can experience the breadth of his talent in a great new collection, Marcel Dzama: Sower of Discord, out recently from Abrams Books.

The coffee-table book, which showcases hundreds of Dzama’s works in various media, also includes a poster, writings from the artist Raymond Pettibon and the art historian Bradley Bailey, and three collaborative short stories by Dave Eggers—which I’ll admit I haven’t quite gotten to yet, even though I loved this and this.

Ah, but the artwork! Great artists are evocative, and Dzama’s work evokes all sorts of emotions: wistfulness, joy, fear, revulsion, wonder, arousal. Drawing inspiration from current events, revolutionary images, his esteemed predecessors (notably Marcel Duchamp, Francis Picabia, Oskar Schlemmer, and William Blake), and his own childhood fears and encounters, Dzama has developed a distinctive-yet-familiar style that’s at once playfully subversive, twisted, childlike, and disturbing.

Recurring themes and characters include anthropomorphic trees, real and fictional animals, flag-bearers, distinctively yonic octopi, hooded men and women with guns (Subcomandante Marcos meets Guantanamo Bay), and sensual dancers in two-tone, polka-dot catsuits. We see superheroes, bats and owls, hanging men, dismembered cowboys, snowmen, rabbits and bears, Pinocchios, surreal multi-species crime scenes, bestiality of a sort, children curled in grave-like underground dens, disembodied heads, and plenty of sex—some of it alluringly primal. The book explores Dzama’s intent with some of these elements, but you may want to simply experience them first, and discover what meanings they bring to the uninitiated.

Bold the beauty of New York City, 2009. Ink and watercolor on paper. Marcel Dzama

The great sacrifice was our only dog, such a tragic gesture, 2011.

Ink and gouache on paper. Marcel Dzama

Circle of Infidels (The 6th revolution), 2008. Ink and watercolor on paper. Marcel Dzama

Dzama grew up in Winnipeg, where he struggled somewhat in school, partly because he’s dyslexic. He was constantly drawing, though, and settled on art school not from any high aspirations, but because “art was the only thing I was good at,” he tells filmmaker Spike Jonze in an included Q&A that, while fun and informative, needed some trimming.

Untitled, 2000. Ink and gouache on paper. Marcel Dzama

In any case, Dzama was discovered by the New York City art aficionado and gallery owner David Zwirner, and he’s been on a tear ever since. His art has traversed the globe, appearing in esteemed spaces such as Manhattan’s Museum of Modern Art and Metropolitan Museum of Art, Le Centre Georges Pompidou in Paris, the Corcoran Gallery in Washington, DC, and Musée d’art contemporain de Montréal. Sought after by celebs and collectors who can afford him, his work has graced album covers by the likes of Beck and They Might Be Giants. (I first encountered it in Bed Bed Bed, a charming TMBG side project consisting of a CD and accompanying lyrics book—which I highly recommend for anyone with kids under seven.)

Welcome to the land of the drone, 2011. Ink and gouache on paper. Marcel Dzama

I’ll leave you with a few more examples from the book, which is worth owning. You might, however, want to keep it where your kids can’t reach until they’re of age. For instance, I wouldn’t want my nine-year-old stumbling across Dzama’s My Weekend in Berlin, which looks like a pretty exciting weekend. I’ve not included it here. Guess you’ll just have to buy the book.

If you can’t bring good news, then don’t bring me any, 2012.

Ink, gouache, graphite, and collage on paper. Marcel Dzama

Turning into puppets (Volviendose marionetas), 2011 (details).

Steel, wood, aluminum, and motor. Marcel Dzama, photos by Sammlung Ottmann

My Ladies Revolution, 2008. Wood, sliding glass, acrylic, collage, and plaster.
Marcel Dzama, courtesy Sies + Höke, Düsseldorf

Goodbye.

Untitled, 2000. Ink and gouache on paper. Marcel Dzama

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Marcel Dzama’s Artwork Is Totally Twisted (and I Totally Dig It)

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Etymology of the Day: Strategery

Mother Jones

My incidental use of the George Bushism “strategery” in a post this morning sparked a Twitter exchange which produced an interesting factlet: George Bush didn’t invent the word. Here it is in an 1845 short story by Mark Lemon, the founder of Punch, titled “Never Trust to Outward Appearances”:

The particular strategery spoken of here involves one Caleb Botts, who was negotiating to marry away his daughter Fanny for his own benefit, but eventually gets outsmarted. I just thought you’d all like to know.

UPDATE: Sorry. I’m reminded in comments that “strategery” was invented by Will Farrell in an SNL spoof of George Bush. As happens so often, fiction replaces reality in our memories.

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Etymology of the Day: Strategery

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Sorry, But the 2012 Campaign Just Wasn’t That Interesting

Mother Jones

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God knows, Walter Shapiro has earned the right to be cynical about his fellow ink-stained wretches. Today, he takes on Double Down, the 2012 campaign sequel to Game Change from authors Mark Halperin and John Heilemann. Shapiro thinks that it basically represents the final triumph of the “win the morning” approach to politics:

Double Down is all about shiny objects. It is as if the authors, in a desperate effort to justify their reported $5-million advance, opted for sleight-of-hand to divert readers from the predictable story of the actual 2012 campaign. So after luxuriating over Donald Trump’s ludicrous presidential pretensions early in the book, Halperin and Heilemann devote yet another page to this loathsome self-promoter in their final chapter. The only narrative justification (beyond having another Trump anecdote to peddle on TV) is that Obama’s research team discovered that in ads “voters always noticed and remembered Romney juxtaposed with a private jet branded TRUMP.

….Double Down, in truth, peddles bite-sized dramatic nuggets rather than a nerd’s-eye view of how contemporary politics really works. The authors’ guiding philosophy seems evident: If it can’t be hawked on a talk show then it doesn’t belong in the book.

….Halperin and Heilemann show little interest in unraveling one of the enduring mysteries of Campaign 2012: Why did the supposedly data-driven Romney lose touch with reality and believe to the end his overly optimistic internal polls and the eager Republican faces at campaign rallies? For all of its in-the-moment hype, Double Down exudes a slightly musty aroma, as if the authors are uncomfortable with how politics has changed with the advent of social media. In fact, Double Down may be remembered as a historical curiosity—the last campaign retrospective that fails to mention Facebook.

I almost feel sorry for Halperin and Heilemann. The truth is that the 2012 campaign just wasn’t very interesting. Republicans put on an amusing clown show during the primaries and then ended up nominating the most boring person in the world—who, in turn, refused to spice things up with a Sarah Palin-esque choice of running mate. Obama, for his part, ran a Spock-like campaign that only Nate Silver could love. What’s more, there were no novel issues in the campaign, just an endless relitigation of the same themes that had been occupying us for the past three years. There were some gaffes here and there, and Obama’s Denver debate meltdown provided a tiny spark of uncertainty about the election’s final outcome, but even that wasn’t much. Honestly, the result was entirely predictable for at least the final month, and it took heroic spin efforts from the media to pretend otherwise.

So is it any surprise that the book is fairly uninteresting except for the occasional shiny object? Not really. I read Jon Alter’s The Center Holds a while back, and I’m a fan of Alter’s writing. But it was a dull book for anyone who followed the campaign even loosely. Campaign coverage is now so dense and omnipresent that there just isn’t very much we don’t know by the time all the wrap-up books come out. So Halperin and Heilemann can make hay with the odd shouting match that wasn’t reported in real time, but aside from that there just isn’t very much to say. 2012 will go down in history as a pretty routine fight.

Hell, you can’t even say it was the beginning of the nerd era, or the blog era, or the data mining era, or the social media era. That stuff all got started in 2004 and 2008. It got stronger in 2012, and will get stronger still in 2016, and it’s a fascinating story. It’s also the only story worth taking a deep dive into if you want to understand the mechanics of presidential elections in the 21st century. But it’s not for the Morning Joe crowd.

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Sorry, But the 2012 Campaign Just Wasn’t That Interesting

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Who Was Vivian Maier? These Enigmatic Self-Portraits Only Add to the Mystery

Mother Jones

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If you open up Vivian Maier: Self-Portraits seeking answers as to who she was, prepare to be disappointed. Even when Maier turns the camera on herself, she doesn’t offer much.

In death, as in life, Maier left few clues about who she was, why she pursued photography, or what she was thinking. Four years after her death, and six years after the discovery of her photos (which author Alex Kotlowitz wrote about for Mother Jones), very little is known about her. She was born in New York in 1926, worked as a Nanny in Chicago, and died in 2009. She spent her life compulsively taking pictures. Most of those who knew her never even realized she was a photographer. Then again, she may not have considered herself a photographer.

May 5, 1955

With this book of Maier’s self-portraits, we hope for clues. We want to be a witness to her life. But we’re really just spectators, seeing only what she lets us—often just her shadow. Sometimes it’s almost like a game of Where’s Waldo: You need to find her in the frame, catching her reflection in the corner of a mirror that’s secondary to an otherwise great street photo. She is usually alone or with children. Rarely smiles. Mostly out in the world, on the street, experimenting with reflections, composition, shadows and shapes. We get more questions than answers.

The book, compiled by filmmaker and street photographer John Maloof, who first discovered Maiers’ work in 2007 while researching a book on the history of a neighborhood in Chicago, contains 60 never-before-published images. Most are black and white, shot with a medium format camera. However, in the ’70s and beyond, we see Maier more in color, shot on 35mm film. In the later work we see an aging Maier, generally even more alone than in earlier photos.

June 1978, Chicago area

It’s tempting to approach the book with a modern sensibility of the self-portrait, thinking of these as Maier’s selfies. That would be a mistake. As Elizabeth Avedon puts it in her opening essay:

So often contemporary photography needs something…It demands an audience, requires funding. It needs someone to like it, share it or comment to it. Images today are not content to exist on their own, they constantly seek opinion and validation…Vivian Maier’s work is extraordinarily different in that it only needed to be made.

According to Maloof, Maier almost never showed her work. Most of it she never even saw herself. The pictures “only needed to be made.”

1956, Chicago area

Some people see a particular vanity in photographers’ self-portraits. But with Maier’s, it seems like a case of the photographer trying to figure out her subject. Given that she died with most of her film undeveloped and negatives unprinted, it’s a safe bet that she never found the answers she may have been searching for.

May 1978, Chicago area

Vivian Maier: Self-Portraits by Vivian Maier, edited by John Maloof, is available from powerHouse Books.

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Who Was Vivian Maier? These Enigmatic Self-Portraits Only Add to the Mystery

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Defense Intelligence Agency Officer is Very Happy The Rock Is Set to Star in His Demon-Slaying Movie

Mother Jones

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St. Martin’s Press

DwayneThe RockJohnson is attached to star in the MGM film project SEAL Team 666, based on the novel of the same name, according to The Hollywood Reporter.

The Rock is also set to executive-produce the film, which is about Navy SEALs who vanquish demons and other world-ending supernatural forces. Anyone who knows anything about The Rock will not be surprised to learn he’s attached to star in this. And SEAL Team 666 author Weston Ochse—a fantasy-action writer who is also an intelligence officer at the Defense Intelligence Agency—is pleased with the casting decision.

“The Rock is a great, great actor to portray the lead,” Ochse tells Mother Jones. “I’ve probably seen every movie he’s ever made. I saw Pain & Gain a couple weeks ago…He was the best actor in the movie, I thought.”

Ochse has been a staff officer for the DIA for nearly a decade, and recently returned from a six-month deployment to Afghanistan, where he taught military intelligence techniques at International Security Assistance Force headquarters. He says his friends at the DIA support his literary moonlighting. “My writing, this isn’t War and Peace,” he says. “It’s escapist fiction.”

Prior to his time at the agency, Ochse spent 20 years in the US Army, and was involved in special operations. “It really got me into a lot of countries,” he says. “I’ve been in more than 50 countries. I’ve been able to see different people, breathe foreign air…My time in special ops really fulfilled me as a person.”

Nowadays, Ochse, who lives in Sierra Vista, Arizona, is devoting his spare time to penning more novels, including a third entry in the SEAL Team 666 series. (His top writing influences are P. F. Kluge, Richard Adams, Richard Ford, Ernest Hemingway, and Quentin Tarantino.) The upcoming film (which does not have a director at this time) was written by Evan Spiliotopoulos; Ochse has yet to be creatively involved with the production. “If they want me to help, I’d love to,” he says.

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Defense Intelligence Agency Officer is Very Happy The Rock Is Set to Star in His Demon-Slaying Movie

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Take Good Care of the Garden and the Dogs – Heather Lende

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Take Good Care of the Garden and the Dogs

A True Story of Bad Breaks and Small Miracles

Heather Lende

Genre: Spirituality

Price: $1.99

Publish Date: April 19, 2011

Publisher: Algonquin Books

Seller: Workman Publishing Co., Inc.


The Alaskan landscape—so vast, dramatic, and unbelievable—may be the reason the people in Haines, Alaska (population 2,400), so often discuss the meaning of life. Heather Lende thinks it helps make life mean more. Since her bestselling first book, If You Lived Here, I’d Know Your Name , a near-fatal bicycle accident has given Lende a few more reasons to consider matters both spiritual and temporal. Her idea of spirituality is rooted in community, and here she explores faith and forgiveness, loss and devotion—as well as raising totem poles, canning salmon, and other distinctly Alaskan adventures. Lende’s irrepressible spirit, her wry humor, and her commitment to living a life on the edge of the world resonate on every page. Like her own mother’s last wish— take good care of the garden and dogs —Lende’s writing, so honest and unadorned, deepens our understanding of what links all humanity.

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Take Good Care of the Garden and the Dogs – Heather Lende

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What It’s Like To Sneak Across the Border To Harvest Food

Mother Jones

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For most anthropologists, “field work” means talking to and observing a particular group. But for Seth Holmes, a medical anthropologist at the University of California, Berkeley, it also literally means working in a field: toiling alongside farm workers from the Triqui indigenous group of Oaxaca, Mexico, in a vast Washington State berry patch. It also means visiting them in their tiny home village—and making the harrowing trek back to US farm fields through a militarized and increasingly perilous border.

Holmes recounts his year and a half among the people who harvest our food in his new book Fresh Fruit, Broken Bodies. It’s a work of academic anthropology, but written vividly and without jargon. In its unvarnished view into what our easy culinary bounty means for the people burdened with generating it, Fresh Fruit/Broken Bodies has earned its place on a short shelf alongside works like Tracie McMillan’s The American Way of Eating, Barry Estabrook’s Tomatoland, and Frank Bardacke‘s Trampling Out the Vintage: Cesar Chavez and the Two Souls of the United Farm Workers.

I recently caught up with Holmes via phone about the view from the depths of our food system.

Mother Jones: What sparked your interest in farm workers—and how did you gain access to the workers you cover in the book?

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What It’s Like To Sneak Across the Border To Harvest Food

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Photographer W. Eugene Smith’s Very, Very Big Retrospective

Mother Jones

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Out this week, W. Eugene Smith’s The Big Book, officially titled The Walk to Paradise Garden, actually consists of three books: The original mock-up of Smith’s unpublished, self-selected retrospective has been broken into two volumes, and there’s a third book containing text, essays, and thumbnail images. Big doesn’t do it justice: This is massive. University of Texas Press, in conjunction with the Center for Creative Photography at the University of Arizona pulled out all stops in reproducing it.

The back story is as follows: In 1959, Smith began work on the ultimate representation of his photography. Putting it together gave Smith, who is legendary for his fierce opinions on which images magazines used and how they presented them, the freedom to challenge traditional photo storytelling. He grouped images in a lyrical, literary fashion rather than chronologically or according to which story they belonged to. The mock-up took him three years to finish, but the book has remained unpublished until now. It was too big and costly for any publisher to seriously consider. As it languished through the ’60s, Smith contemplated amending the unwieldy book to include newer work.

The publication is a facsimile of Smith’s original maquette, a delicate object made of photocopied images rubber cemented on calendar paper and bound with bookbinder’s glue that’s become brittle over time. It’s incredible to see the pages exactly as Smith laid them out, with pencil marks and notes. And while it’s true to the original, the photocopied images look, well, like images reproduced on a photocopier from the early 1960s. They were reproduced for the maquette using an Agfa Copyrapid, an early photocopier. The image quality varies, with some looking like muddy black and white blotches, identifiable to fans of Smith’s work, sure, but not the casual viewer. Others are a bit more recognizable, but still exceptionally contrasty due to Smith’s original copy process for the mock-up. Thumbnails in the third volume provide gorgeous but small reproductions of the images, in order of appearance, with information about the photos. The Big Book really is a treasure for researchers, scholars, serious photographers, and fans of Smith’s work, as well as that particular breed of person who fetishizes the photobook. This is one for you.

Despite the image quality, it’s hard not to appreciate the effort to stay true to the original, which almost resembles Japanese photobooks from the early ’70s (think PROVOKE photographers Nakahira, Moriyama, and Takanashi). Looking at the high quality thumbnails in Volume 3 might make you crave seeing the full-size photos in such clear detail. But that would defeat the purpose of this particular publication. Still, it’s hard not to wonder what the quality-obsessed Smith would think of having Agfa Copyraid versions of his precious photos reproduced en masse.

The Big Book comes packaged in a sturdy slipcase emblazoned with two of Smith’s more famous photos: the “Frontline Soldier with Canteen, Saipan” and “Steelworker With Goggles,” from the Pittsburgh Project. The whole shebang includes 466 photos. A massive, rare treat for people who are obsessive about photography.

(University of Texas Press, October 2013; 9.75 x 12.75, 448 pages)

Excerpts from The Big Book by W. Eugene Smith (Copyright © The Arizona Board of Regents, University of Arizona, Center for Creative Photography; photographs ©2013 The Heirs of W. Eugene Smith) used by permission of the University of Texas Press. For more information visit www.utexaspress.com.

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Photographer W. Eugene Smith’s Very, Very Big Retrospective

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