New Yorker Book Notes

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A blog, on literary matters great and small.
Updated: 51 min 17 sec ago

Covers Contest: Grand Prize Winner

Thu, 09/02/2010 - 19:16

In the September 4, 1910, edition of the New York Times, the union leader Samuel Gompers marked the Labor Day holiday with a rousing salute to its origins and celebrants:

Among all the festive days of the year, of all the days commemorative of great epochs in the world’s history, of all the days celebrated for one cause or another, there is not one which stands so conspicuously for social advancement of the common people as the first Monday in September of each recurring year…

Huzzah! Congratulations to Caitlin McKenna of Brooklyn. Enjoy the long weekend.

This week’s titles: “Labor Day,” “Working,” “The Pleasures and Sorrows of Work,” and “Summer’s End.”

Book Club Confidential: Contemplating the Apocalypse

Thu, 09/02/2010 - 18:00

THE CLUB: The Freebird Brooklyn Post-Apocalyptic Book Club— created on Valentine's Day in 2008 out of "a morbid fascination with the quasi-genre of post-apocalyptic fiction." Founder Peter Miller figures there's enough material to keep the club going for years, or at least until the members "all are wiped out by tsunami or plague."

THE MEMBERS: Young men and women working in publishing, education, and the arts: one is a freelance book editor, another a pianist, and a third describes the group as "white collar professionals." Zombie fans need not apply.

THE SETTING: Freebird Books on the Brooklyn waterfront near Red Hook. Peter Miller: "Members frequently complain that finding the edge of civilization is easier than locating the store." Conor: "Look for the salt pile across the street!"

THE MENU: On a good day, freshly made cookies or cupcakes; otherwise, chips from the bodega next door.

DRINKS: Beer, wine, Brian D.'s homemade sangria, and occasionally Scotch—"always nice on a cold winter evening."

THE BOOK: J. G. Ballard's "The Drought"

THE VERDICT: Recommended.

WHY? Members liked the author's quick pace, deft scene-setting, and the funny and grotesque descriptions. Ambivalence toward the protagonist and some debate over whether the plot comes "unhinged" made for a lively discussion.

FAVORITE BOOK SO FAR: There's no unanimous winner, although Nnenna and Conor both loved Walter M. Miller’s "A Canticle for Leibowitz."

LEAST FAVORITE BOOK: Doris Lessing's "Mara and Dan." Lessing's "idea of the post-apocalypse is a long, uneventful slog through dull prose."

WHY IT'S OKAY TO DISAGREE: Peter Miller listed Michel Houellebecq's "The Possibility of an Island" as a favorite, while Nnenna found the same book so repellent that she couldn't finish it. But both admit that the difference in opinion led to one of the best discussions the group ever had. Wanted: provocative books that "polarize/distress/confuse us." Leave at home: clunky, unbelievable scenarios; zombie stories; books that invite cries of "I loved it!" but fail to foster debate.

THE FUNCTION OF APOCALYPSE IN LITERATURE: Brian D.: "In some books, the apocalypse serves to wipe the slate clean and start over or return to a better past—it’s a projection of the author’s hatred for the present age. In others, the apocalypse functions as a test to find out who we really are stripped of the veneer of civilization."

DO THEY DISCUSS THE BOOKS? Definitely. Nnenna estimates that ninety percent of the time is spent on the book, with the remaining minutes devoted to the relative "merits of various baked goods." Discussion of the book generally lasts for a solid hour and a half, Stephanie G. explains, with occasional forays into other topics—like "how the world might actually end."

How Should We Put This?

Thu, 09/02/2010 - 15:00

Over on News Desk, my colleague Blake Eskin takes the New York Times to task for its conservative language policy, which this week led the writer Noam Cohen to resort to some interesting prose gymnastics in an article about Cee Lo’s new viral sensation, “Fuck You.” Eskin writes:

Times reporters’ ingenuity in curse avoidance is usually guaranteed to bring almost as big a smile to my morning commute as their contortions in describing a source’s reasons for requesting anonymity. But I got much more pleasure from Cee Lo’s exuberantly profane song than from Cohen’s playfully indirect disquisition on it.

A few weeks ago, when I posted an interview with Andrew Gottlieb, author of the Elizabeth Gilbert parody “Drink, Play, F@#k,” I noticed that Black Cat Press had opted to “bleep out” the final word of the title on the book’s cover, and in all subsequent mentions. (That “f@#k” is spelled out in condoms on the cover shows that there was a limit to the publisher’s high-mindedness.) With all these euphemisms running wild, it might be worth looking at how some other publishers have chosen to deal with the offending word.

  • MTV/Pocket Books opts for sleight of hand with its cover of “The Fuck-Up,” Arthur Nersesian’s first novel about the adventures of a slacker living in New York City.
  • Oxford University Press chose a more discreet approach for its updated version of “The F-Word,” Jesse Sheidlower’s lexographical study. (The original featured the slightly more provocative “F***” on a yellow cover.) The comedian Lewis Black, who writes the introduction, is not famous for such discretion.
  • In “Fuck,” by the law professor Christopher Fairman, the word is in the process of being whited out, but still remains in all its glory, a judicious choice for a book that carries the subtitle, “Word Taboo and Protecting Our First Amendment Liberties.”
  • 1994 was a more chaste time, at least judging by the decision by St. Martins Press to omit the subtitle from the cover of the rapper Ice-T’s biography: “The Ice Opinion: Who Gives a Fuck?” Ice-T may have begrudged the decision, based on what he wrote about free speech: “I am a human being, put on this earth, and I can say any muthafuckin’ thing I want,” as quoted at the time in The New Yorker by Louis Menand, in a piece on violence and culture.
  • Perhaps the title of this collection of Bukowski’s Henry Chinaski stories lured the lone reviewer of the book on Amazon, who explains his disappointment: “It’s in German, a fact I must have glossed over and in my fervor for Bukowski I ordered it.”
  • “Fuck You-Aloha-I Love You,” a 2001 poetry collection by Juliana Spahr, sounds like a honeymoon gone terribly wrong, then gone terribly right.
  • Looking for answers? Why not turn to the enthusiastic Reverend Wing F. Fing? He’s obviously qualified for something, though I’m curious about what the “much, more more” in his long list of credentials means.
  • Ouch. This title by Ray Fenwick puts us in our place.

What Sons-Of Do That Daughters-Of Don't (And Vice Versa)

Thu, 09/02/2010 - 13:20

I was reading Meghan McCain’s memoir the other day, which is actually quite lively, and I was struck by a passage in which McCain recounts going to the White House to meet Jenna Bush:

I have always had insecurities about being an inadequate daughter-of. I am always afraid that people expect me to be milder, quieter, and more composed, like the other daughters-of.

Being a daughter-of is a weird little club, if you think about it. And membership comes with a weird little celebrity. Your parents are in the limelight, and like it. But this doesn’t mean you will too. It is hard to tell how the other daughters-of are dealing with this, because many of them seem to be kind of shut down. Since your entire job in public life is standing, waving, and wearing the right clothes, you can become a permanent cardboard figure, I guess, like a princess doll. And since the world can be focused on you, and fascinated, maybe it seems safer to say nothing.

And I thought, I am indeed fascinated! This seems like it might be true of some daughters-of, most notably Chelsea Clinton, the most media-shy of the current crop of daughters-of, and also recently the victim of intense media scrutiny. But many daughters-of do seek some kind of attention. Exhibit A:

There are a lot of daughters-of these days, aren’t there? Granted the current President and his two predecessors all have only daughters (as did Nixon and Johnson), but still. There are sons-of out there. Why aren’t they writing books about body image and climbing on elephants? Oh, because they’re busy doing other things, things like (exhibit B):

George W. Bush, son of George H. W.: Former President of the United States. Jeb Bush, son of George H. W.: Former Governor of Florida. Beau Biden, son of Joe: Attorney General of Delaware. Ben Quayle, son of Dan: Currently running for Congress. Jack Carter, son of Jimmy: Unsuccessful bid for U.S. Senate in 2006. Andrew Cuomo, son of Mario: New York State Attorney General, currently running for governor. Adam Clayton Powell IV, son of Adam Clayton Powell, Jr.: New York State assemblyman, currently running for Congress against Charlie Rangel, who defeated Powell’s father forty years ago in a primary for the same position. Rand Paul, son of Ron: Currently running for U.S. Senate David Paterson, son of Basil (former Attorney General of New York): Governor of New York Mitt Romney, son of George: Former Governor of Massachusetts. Harold Ford, Jr., son of Harold Ford, Sr. (former Tennessee congressman): Former Tennessee congressman, current chairman of the Democratic Leadership Council. Ron Reagan, son of Ronald: Political pundit for MSNBC. Michael Reagan, son of Ronald: Former Republican strategist, now sells e-mail addresses with the suffix @Reagan.com for $39.95/year.

(O.K., those last two were just for laughs.)

Except for that time Caroline Kennedy almost got shood-in to Hillary Clinton’s Senate seat, I can think of only a couple of daughters-of who followed in daddy’s footsteps—Susan Molinari, a congresswoman whose father, Guy, was a congressman; and Nancy Kassebaum, a senator whose father, Alf Landon, was Governor of Kansas. It's true that many of today's daughters-of played key roles in their father's campaigns; some, like, Sarah Huckabee, even ran them. Maybe it's time for them to think of running their own? Alternatively, of course, we could all start praying for an end to nepotism in politics.

Update! (1:43 P.M.): A helpful reader has e-mailed me with two more daughters-of. 1) Lisa Murkowski (daughter-of Frank) who is in the news this week for losing the primary to the guy Palin likes, and 2) Nancy Pelosi, whose father, Thomas D'Alesandro, was a congressman and mayor of Baltimore.

If anyone can think of others, we'd love to know about them.

In the News: Have Ph.D., Can’t Travel

Thu, 09/02/2010 - 13:00

J. K. Rowling has donated over fifteen million dollars for a multiple-sclerosis research center.

Chinua Achebe, Dave Eggers, and Greg Mortenson are among the finalists for the 2010 Dayton Literary Peace Prize.

A federal appeals court upheld a Florida law that prevents academic travel to Cuba, Iran, North Korea, Sudan, and Syria.

Steve Jobs announced that iTunes users have downloaded thirty-five million e-books.

Thomas Ricks on the best and worst books about the Iraq war.

Lane Smith, author of "It's a Book," says tech-savy kids are "antsy" during his public readings.

Though it is celebrated each year, August 24th is not the Gutenberg Bible's real anniversary.

What can aspiring educators learn from the mean teachers in children's books?

Cloudy with a Chance of Marvell

Wed, 09/01/2010 - 20:15

Of all the weather conditions favored by forecasters&#8212the stomach-sinking pronouncement of an oncoming wintry mix, the apocalyptic predictions of ninety-degree summer hailstorms&#8212none seem so odd as the front that passed through Berlin on Saturday. No, not the light rain and fog that have hung over the city for days, but rather the rainstorm of one hundred thousand bookmarks printed with poems which were poured over the city from a helicopter this weekend. The Guardian reports that organizers of the project, which was the brainchild of a Chilean art collective and has already taken place in five other cities, all of which were the site of aerial bombings in the past, claim that:

Just as wartime bombings were intended to "break the morale" of the inhabitants of a city, so the poetry bombing "'builds a new city by giving new meaning to events of her tragic past and therefore presenting the city in a whole new original way."

One can’t help wondering whether Berliners might have seen it another way. Yes, Berlin was broken to bits after the war, but the bombings there didn’t cause destruction on the scale that they did in Dresden or Leipzig. A more recent memory for most Berliners is the Berlin airlift, when as many as five thousand tons of supplies were lifted into the city every single day. If that association shifts the message of the so-called “poetry-rain” slightly, it also offers a charming example for other places. As libraries in the U.S. close for lack of funding, and as the most seemingly resilient bookstores&#8212Barnes & Noble! Borders!&#8212shutter their doors, perhaps we should think about airlifting some good old literature to allies stuck behind unintentionally-erected book blockades.

(Image: Singin' in the Rain, by Duncan Harris, via Flickr)

Full Bleed

Wed, 09/01/2010 - 17:00

Since the first surfers nailed roller-skate wheels to boards to carve barefoot down the unweathered hills of the San Fernando Valley, skateboarding has grown, prospered, split, nearly died three times, and exploded, all the while struggling to define itself. Over the course of six decades, skateboarding has grown from a fringe activity into a fringe culture, rolling among art, sport, and commerce.

"Full Bleed: New York City Skateboard Photography," published by Vice magazine and powerHouse Books, hones in on the arrival of skateboarding in skateparkless and pedestrian-heavy New York City circa 1980, and charts its battle over two decades to scrape out a fluid, graceful identity in some of Manhattan’s least likely enclaves.

The photographs take us to hotspots like Brooklyn Banks, the recently closed mecca of East Coast skateboarding, and introduce the characters who would personify and capture a culture. There's the aspiring artist Neck Face and a young videographer named Spike Jonze; a bundled bridge-and-tunnel teen-ager who would become skate icon Mike Vallely; and Harold Hunter, pictured below in the blue cap, a prominent skater and L.E.S. personality, picked by director Larry Clark to star in the movie “Kids” before modelling for Tommy Hilfiger, partying with Paris Hilton, and finally dying of a cocaine overdose in the Campos housing project where he grew up.

The book captures the sensation of flight and movement within heavy, confining spaces, and the sweeping colors of the boards, the graffiti, and the riders as they fly between the gray sky and grayer pavement, while pedestrians watch, yell, and, like the skaters, go about their business.

(Images courtesy powerHouse Books.)

Covers Contest: Day of Rest

Wed, 09/01/2010 - 16:00

Labor Day has its origins at the end of the nineteenth century, when President Grover Cleveland rushed legislation through Congress, calling for a national holiday for workers in an effort to placate the nation’s powerful unions and gain a foothold for his reëlection campaign. Politics aside, it was a good idea then, and it remains one today—despite that end-of-summer sadness that we always associate with it. This week, we’ve assembled four covers whose themes connect to the coming long weekend. Good luck!

Submit the first fully correct response via e-mail and win a copy of the brand-new anthology “The Only Game in Town: Sportswriting from The New Yorker.” In the event of confusion, consult our official rules. We’ll announce the winner tomorrow afternoon.

How It Feels to Be A Problem

Wed, 09/01/2010 - 14:00

In New York City this week, an institution is being accused of using Islam to subvert American culture—but this time, it’s on the other side of the East River. The controversy over Brooklyn College’s Common Reader program doesn’t hold a candle to the Ground Zero mosque debacle—thankfully, Sarah Palin has yet to tweet on the subject—but it’s gotten more than a few people riled up in the past few days. The most riled might be Bruce Kesler: the conservative blogger and Brooklyn College alum wrote the college out of his will when they assigned Moustafa Bayoumi’s “How Does It Feel To Be A Problem? Being Young and Arab in America” to all incoming freshmen.

Bayoumi, a Brooklyn College professor, examines the lives of seven Arab-Americans, six Muslims and one Christian, living in Brooklyn after 9/11. The college chose the book because “it contributes to the discussion of a subject that is pertinent to Brooklyn today—i.e., the stories of Brooklyn’s many immigrant communities who come from diverse areas and cultures of the world.” Detractors, with Kesler at the helm, say it is an attempt to indoctrinate young, impressionable students with what must inherently be an anti-Israel, anti-American treatise. The Common Reader program resembles many taking place in orientations across the country right now: freshmen read a single book and discuss it, hopefully reaching the same intellectual space of debate and critical thought as classes begin. With any luck, students who disagree with what Bayoumi has written will be taught—and, perhaps, encouraged—to form a cohesive argument against it.

Kesler has every right to pull his future donations; it’s his money, and he can give it to whomever he’d like for any reason at all. But the arguments he and his supporters are wielding are dangerous ones. He cites the dubious “Campus Watch” group, which has been accused of threatening and harassing Middle Eastern scholars to further a hard-line pro-Israel agenda. Then there’s the National Association of Scholars, a conservative group that’s already leading an attack on college reading lists across the country. They were quick to support Kesler (confusingly, they put Bayoumi’s area of academic focus, postcolonial literature, in quotation marks—and, full disclosure, that was my area of academic focus as well): “[the book] aims to establish Arab and Muslim Americans as victims and indict American society for making them so.” It all fits perfectly with the growing sentiment that Muslims—led by President Obama, of course—are working to destroy America, but it’s cloaked in the guise of a real academic debate. It’s a shame that Moustafa Bayoumi’s book, a thoughtful and highly regarded portrait of the group living with this growing antagonism, has to be at the heart of it.

In the News: Profits Up, Archie Out

Wed, 09/01/2010 - 13:00

Thanks to Stieg Larsson and digital sales, Random House doubled its profits for the first quarter of 2010.

"Archie" introduces its first gay character, in a strip titled "Isn't It Bromantic?"

In the wake of managing editor Kevin Morrissey's suicide, the Virginia Quarterly Review has closed its offices and cancelled its winter issue.

Joseph Conrad's "Heart of Darkness" has been published as a graphic novel, with illustrations by Catherine Anyango.

In an excerpt from his forthcoming memoir "Deadly Indifference," former F.E.M.A. director Michael D. Brown writes that his preparations for Hurricane Katrina were thwarted by "denial, delay, and poor choices."

The end of late fees? The San Diego Public Library will offer its patrons e-books for free.

What to do and what to eat (cream cake) in Ljubljana, Slovenia, this year's World Book Capital.

A-oooooo!

Tue, 08/31/2010 - 19:26

What’s more beautiful than James Franco’s face? James Franco’s face illuminated by starry spangled shocks shooting between the grey skyscrapers of New York City—which vision can be attained briefly in the trailer for the Allen Ginsberg biopic “Howl” and at length when the movie is released on September 24th. One of the creators of this vision is Eric Drooker, who drew animation for the film at the behest of its directors, Rob Epstein and Jeffrey Friedman. Epstein and Friedman became fans of Drooker (a cover artist for The New Yorker) after reading “Illuminated Poems,” a book he collaborated on with Ginsberg that appeared in 1996, one year before the poet’s death. Drooker and Ginsberg first became friends in the late nineteen-eighties, when they were both living on the Lower East Side, where Drooker created street posters to hang around the neighborhood on walls and lampposts. At one point, Drooker bumped into Ginsberg, who admitted to collecting—not to say stealing—the posters, and keeping them in his apartment on East 12th Street (which apartment, it should be noted, went on the market last week).

Today, Harper Perennial releases a graphic-novel version of “Howl” (Ginsberg’s 1956 poem, not the movie), illustrated by Drooker, which includes his artwork for the film. Though Drooker’s style is more millennial than beat—he uses super-saturated colors and draws figures that are nearly three-dimensional—it meshes perfectly with the movie, and will undoubtedly help draw a new generation of readers to the poem. A sampling below (click images to enlarge):

  • “to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame, rejected yet confessing out the soul to conform to the rhythm of thought in his named and endless head”
  • “who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy.”
  • “incomparable blind streets of shuddering cloud and lightning in the mind leaping toward poles of Canada & Paterson, illuminating all the motionless world of Time between,/Peyote solidities of halls, backyard green tree cemetery dawns, wine drunkenness over the rooftops, storefront boroughs of teahead joyride neon blinking traffic light, sun and moon and tree vibrations in the roaring winter dusks of Brooklyn, ashcan rantings and kind king light of mind.”
  • “who sank all night in submarine light of Bickford’s floated out and sat through the stale beer afternoon in desolate Fugazzi’s, listening to the crack of doom on the hydrogen jukebox”
  • “”Peolple vs Military Industry” (1991). An example of Drooker’s street posters that he hung around the East Village starting in the late nineteen-eighties.
  • Ginsberg and Drooker on the Lower East Side in 1996, photographed by Denise Kiem

(All images courtesy of Eric Drooker and Harper Perennial.)

Cooking for Geeks

Tue, 08/31/2010 - 16:45

I’ll admit that I pretty much never wing it in the kitchen; I follow recipes exactly, and have very little idea what makes them work. So it’s no surprise that I am captivated when watching a real chef in action. They move with a rhythm and intuition that seems almost magical. But of course it isn’t magic: it’s based on hard science, the chemical reactions of food in contact with heat, cold, other food, etc. In a new cookbook, “Cooking for Geeks: Real Science, Great Hacks, and Good Food,” Jeff Potter, a software engineer, takes a look at what’s really going on in your sautée pan, with the intention of helping even the most hapless chef master some of the magic.

Potter covers an array of topics, including “calibrating your equipment” in the kitchen, gastronomy, genetically modified foods, understanding pH levels, temperature, and the psychology of taste, while giving readers a refresher in chemistry that is both accessible and (dare I say) fun when applied to specific recipes. He explains that “the primary chemical reactions in cooking are triggered by heat,” and “you can tell when something is done cooking by understanding what reactions you want to trigger and then detecting when those reactions have occurred.” If you’re cooking a steak, for example, he suggests checking the internal temperature with a thermometer: “Once it’s reached 140°F, the myosin proteins will have begun to denature” (when the molecules begin to change shape).

A chapter in the book deals with food safety and understanding how to prevent food-born illnesses, which greatly appeals to the hypochondriac in me. In order to prevent eating foods contaminated by salmonella, which seems particularly pertinent in light of the recent outbreak, Potter explains that salmonella is killed when it is cooked at 136°F, but only when that temperature is sustained for a sufficient length of time. To be safe, poultry, for example, needs to reach an internal temperature of 165°F, the temperature at which salmonella “dies a quick death.”

Perhaps the most interesting section deals with the physiology and the cultural psychology involved in taste. The receptors on our tongue send information to our brain translating the taste and strength of a food and a person’s upbringing informs their idea of a balanced flavor. Americans tend to prefer sweeter foods than Europeans, and in the Japanese tradition foods with umami or a savory taste are favored. Understanding which enzyme produces which reaction can lead to a surprisingly palatable combination, like Potter’s recipe for Watermelon and Feta Cheese Salad.

Also fascinating are the secret tricks Potter intersperses throughout the book. For example, meat can be tenderized by putting it in a papaya, which “contains an enzyme, papain, that acts as a meat tenderizer by hydrolyzing collagen.” (Side note: “Pound-for-pound collagen is stronger than steel.”) And you should always whisk your egg whites in a copper bowl rather than in a stainless-steel bowl (and never in a plastic a bowl) because the goal of whisking egg whites is to trap air bubbles in a mesh of denature proteins. So when you whisk in a copper bowl, the “copper ions interact with the proteins in the egg whites and make it a more stable foam,” giving you those perfect meringue peaks.

Recently, I took Potter’s book for a spin. I followed his suggestion to be an “environmentally conscious geek,” and made a summer gazpacho from local, organic products I picked up at a farmer’s market in Brooklyn. Potter suggests checking out localfoodswheel.com to see what vegetables are in season for your region. Usually, I’m fearful to deviate from any recipe, but with gazpacho I didn’t think I could go wrong. So I decided to grill some extra bell peppers and peel and seed the tomatoes by hand. To peel tomatoes you drop them into a pot of bowling water for a few seconds, and Potter suggests cutting an “x” into the skin before slowly peeling it away. It was a bit of a messy process, but in the end it was delicious. For dessert, I made Potter’s “One Bowl Chocolate Cake” (though we used six) and topped it with a ganache frosting.

Potter’s recipes range in complexity from buttermilk pancakes to duck confit, and all seem like fine occasions for unleashing one’s inner geek. My own session with the book made me feel a lot more confident in my cooking, even if the dinner-table conversation that evening, which consisted of me explaining to my obliging guests exactly why their gazpacho tasted the way it did, was perhaps less riveting than usual.

Ask an Academic: Sweet

Tue, 08/31/2010 - 14:00

It’s hard to imagine sitting down at a café table and not seeing that cheerful array of pastel paper packets: pink, blue, yellow—a sweetener for each color of the rainbow. Perhaps you have one friend who bakes with Splenda, another who sucks down Diet Cokes all day long, and a third who reaches for the Sweet'N Low simply—she says—because it dissolves easily in iced tea. Where do these loyalties come from, and who is right? Can artificial sweeteners really help you lose weight? Do they, as some people claim, cause cancer and other medical problems? Are we better off with sugar, after all? I recently caught up with Carolyn de la Peña, a professor of American Studies at the University of California, Davis and the author of the fascinating book "Empty Pleasures: The Story of Artificial Sweeteners from Saccharin to Splenda," to get her take on our national obsession with sweet.

Why sweeteners?

I grew up in the 1980s in a house with a lot of substitutes. We had Egg Beaters, I Can’t Believe It’s Not Butter, No Salt, Crystal Light and Diet Pepsi. I wanted to know where these products came from, and how people like my mom—who was always watching her weight—had come to think of them as healthy options. And of course what impact this way of eating, which was entirely new really, has had on us as Americans. It is odd, when you stop and think about it, that “diet” and “low fat” became synonymous with good health, especially considering that all of these products relied on chemicals made in lab, most of which had not even existed just decades before. I thought there must be more to the story than “diet foods make diet people”—especially since these healthy substitutes rose in sales in a way that pretty much parallels the rise in what some people call the “obesity epidemic” that’s occurred in the last few decades in the U.S.

What role did early sweeteners play in the culture of dieting?

You would think that when people substituted artificial sweeteners for sugar they did it primarily to cut calories. But that’s only part of the story. Several years ago I started collecting saccharin containers on eBay. Sold as early as the nineteen-fifties, these pretty little decorative cases (sometimes in animal shapes, typically jeweled) were a popular hostess gift of the post-war era. Yet why would a guest arrive with a gift that could only be interpreted as an invitation for the host to lose weight?

The more I looked into the history of these objects, and artificial sweetener in this early era, the clearer it was that cutting calories was not the only attraction. During the war, sweeteners stood in for unavailable or rationed sugar. But later, when sugar was available again, many women continued to prefer these pills and powders, and to put them in these nice containers. It’s interesting to think of dieting like this—it wasn’t just a way to weigh less, it was a chance to focus on yourself. In order to consume them, one had to pass these containers back and forth, open them delicately, pinch, grab, and release a pill with tiny tongs. It attracted attention. This was very different than sugar, at the time, with its associations with baking and caring for family members through kitchen labor. Today’s diet-product advertisements still communicate this message of self-emphasis, totally apart from any actual weight loss that might (or might not) take place.


Women weren’t just consuming sweeteners; they were also marketing and selling them. Do you think this influence was the key to making the sweeteners popular to female consumers?

Absolutely. Tillie Lewis was a Stockton-based canner and founder of the nineteen-fifties Tasti-Diet line of food, and Jean Nidetch founded Weight Watchers. Along with countless women’s page recipe promoters and advertising copy writers, they fundamentally changed the meaning of “diet” between the early fifties and the seventies. It used to mean doing without; it came to mean doing with. Through stories in newspapers and magazines, diet clubs, and recipe sharing, these entrepreneurs taught a generation of American women that losing weight was about making the right choices in the marketplace. Rather than eating a high-calorie dressing, drink, or dessert, they instead needed to choose one “decalorized” with artificial sweetener.

They key was empathy—these women presented the problem of weight gain and food desire not as “your problem”—but rather as their problem too. Behind all of this, powerful food, pharmaceutical, and media industries stood to gain if Americans consumed more than they needed. What consumers saw, however, were these savvy women who said they could have their cake and eat it too.

I’m fascinated by your section on the “saccharin rebellion” of the nineteen-seventies. What does it mean to be able to “pick your poison,” and what does the government have to do with it?

The most surprising thing I found while doing this research was how millions of Americans fought their government in order to keep saccharin-sweetened products on the market in 1977. One veteran congresswoman said it was the single-most protested issue in her decades-long career in congress, a career that spanned the Civil Rights legislation, Vietnam conflict, and Watergate. When I went through the letters that people sent to the Food and Drug Administration, it was clear that they wanted the right to face the minor risk that saccharin might pose because when life was “one big cancer risk,” as one put it, at least some of that risk better be pleasurable. Countless writers detailed the significant carcinogenic risks posed to their health by things beyond their control like polluted water and second-hand cigarette smoke. They then juxtaposed their minimal saccharin consumption to these very real risks they confronted daily. Many chided the F.D.A. for its faulty science, explaining that it would take a bathtub of saccharin soda, consumed daily, to cause any real risk of cancer.

It’s important to note that these letter writers did more than hold up a sign, or write a short letter saying “you’re wrong” to the F.D.A. or “don’t touch my saccharin.” In two- and three-page letters they detail their lives, their risks, and often, their unsuccessful struggles to lose weight. If the problem was risk, who better to evaluate acceptable risk than those who faced it most often? I have to imagine that their victory, when saccharin stayed on the market, encouraged tremendous product loyalty.

How will a backlash against high-fructose corn syrup figure into the ongoing battle between different artificial sweeteners and table sugar?

It’s interesting that while sugar industry research was showing that artificial sweeteners were bad (and vice versa), and artificial-sweetener brands were suing one another over which one was more natural, and the government was publicizing the carcinogenic risks of vast amounts of sweetener ingestion, corn syrup silently entered most facets of the American food supply. Today, corn syrup adds back the calories that we remove through our zero-calorie sodas and “diet” desserts.

Now, of course, most of us know about the problem with corn syrup and its ubiquitous sweet calories. There’s enough of a backlash, in fact, that corn syrup has had to produce its own pro-industry advertisements. At the same time, recent polls show that most Americans consider artificial sweetener unhealthful. Local school districts are banning bake sales to try to cut down on sugar consumption. It’s tempting to say that we have finally reached a point where we cannot just vilify one sweetener or another, or wait for the next magic bullet to come. Maybe now that we seem to have no “safe” sweetener we will have to examine the larger problem—our fixation on sweetness in the American diet and an accompanying industry that has made soda cheaper than water.

But this is unlikely. “Artificial sweeteners” may become less “artificial,” but it’s not likely we will soon get rid of low-calorie foods and beverages. It is not possible to dispose of all the food we produce and market as a society without forms of “dietary credit” like artificial sweeteners. To produce and desire less of that food would take a major revolution in our food system.

Has your research caused you to change your own eating habits? What do you take in your coffee?

The biggest change in my eating patterns is that I’m eating less—and going to the gym less. I saw a similarity between “diet sweets”—and their promises that you could consume all the time without consequence—and my own habit of burning two hundred calories on a machine before breakfast. If I’m paying for a membership so I can burn off calories from eating more food than I need, that’s probably great for the gyms and food companies, but maybe not for me. It’s been nice to slow down and take a walk, off the treadmill.

With coffee my tastes are unchanged: strong with half and half. Some things should not be sweet!

In the News: Kindle's Carbon Footprint, Shakespeare for Trekkies

Tue, 08/31/2010 - 13:00

Camille Paglia argues that students who attend trade schools end up better off than "glib, cynical, neurotic elite-school graduates."

If you buy it instead of twenty-two new books, the Kindle is an eco-friendly choice.

Borders will begin selling Build-A-Bear stuffed-animal kits in its stores.

Offended by a bullfighting reference in the 2006 poem "Tate's Avenue," an animal-rights activist showed up at a literary festival in Suffolk to protest Seamus Heaney's appearance.

"To be or not to be," or, "taH pagh taHbe": the Washington Shakespeare Company performs "The Klingon Hamlet."

Mark Peters on the "rampant misuse" of the word "Orwellian."

Barnes & Noble will close its Lincoln Triangle Manhattan store.

The top ten typefaces of the decade.

Put a Ring On it

Mon, 08/30/2010 - 18:43

Well, this is something we never thought of doing with our old books (of course, all we do with our old books is look at them lovingly and hope they are never, ever defaced in any way). Jeremy May, a London-based artist, makes “literary jewels” by cutting a cross-section from a book, laminating each of the pages together (so that the object has hundreds of layers), shaping them into a ring or a bracelet or a necklace, and adding a glossy finish. Each piece is sold in the hollowed-out space in the book it was cut from:

This one is from Carl Heinrich Stratz’s “Die Schönheit des weiblichen Körpers” (“The beauty of the Female body”), which is essentially a gynecological text.

This is from “Robinson Crusoe.”

And this one is from “Twenty Thousand Leagues Under the Sea.”

Some of the pieces on May’s Web site, Littlefly.com, are available for purchase, but many are bespoke. If you’d like May to craft a bobble from your favorite (or least favorite) book, you can send him an e-mail of inquiry.

(Via Geekosystem)

Simon Parke Speaks with the Dead

Mon, 08/30/2010 - 16:00

Book trailers—the low-budget previews modelled on those used by the film industry—have quickly grown tiresome. They’re never very interesting, often overly impressionistic and pretentious, and rarely rise above the level of those silly historical reënactments you see on cable. They might get better over time, or die out; either is preferable to their current state.

An exception, though, are the finely wrought previews for Simon Parke’s “Conversations with…” biographies, published by White Crow Books. In this series, Parke bypasses the more quotidian aspects of historical biography by conducting “interviews” with his subjects—Jesus, Meister Eckhart, Arthur Conan Doyle, Vincent van Gogh, and Leo Tolstoy—with the answers coming from their published writings.

The trailers are stagey—with Parke and the actor playing his subject shown in the recording studio while a musical score soars behind their voices—yet the interviews nonetheless feel natural. Much of this feeling owes to the straightforward and unadorned nature of the exchanges, as when Parke asks Vincent van Gogh why he drinks, and the master answers, “If the storm gets too loud, I take a glass too much to stun myself.” The shot cuts to “At Eternity’s Gate,” van Gogh’s portrait of a man with his head in his hands, but you can imagine the whorls and swirls of the artist’s favored darkened skies as well.

Here, Parke conducts his interview with Tolstoy in the assured and chatty style of a British talk-show host:



This gambit may be viewed as simply a clever gimmick, but there is something compelling about Parke’s style, which in a way that is always promised but rarely delivered, does, in fact, bring his subjects to life. Parke’s role as the good-natured interlocutor seems to be an essential component of the project, a disposition on display in this cheeky description of his imagined time spent with Tolstoy:

He also proved an appalling husband, hated Shakespeare, never came to terms with his sexual appetite and yet had a profound influence on the non-violence of the young Gandhi. My time at Yasnaya Polyana, Tolstoy’s country estate, was never dull; and sometimes, surprisingly comic. Soon after I left the great man, at the age of 82, he ran away from home.

Via: Ship of Fools, the “magazine of Christian unrest.”

Literary Smackdown: Humble vs. Hopkins

Mon, 08/30/2010 - 14:00

Humble, Texas. Population 14,500. Birthplace of the Humble Oil Company (now Exxon). Home of the Humble Wildcats and, according to HumbleArea.com, of ninety-two churches and zero mosques. Also of the Teen Lit Fest, a biennial festival put on by the Humble Independent School District. In the ring: Ellen Hopkins, New York Times super-best-selling author of books about teen crank addiction, teen prostitution, teen suicide, parental physical abuse (of teens), and teen incest; and Guy Sconzo, humble Humble schools superintendent.

It began, according to Hopkins, who has been blogging the dustup, when a Humble school librarian saw Hopkins's name on a list of proposed authors, became upset, and went with a group of parents to Guy Sconzo, who disinvited Hopkins and exchanged some e-mails with some of Hopkins's supporters in which he wrote unfortunate things like he hadn't read Hopkins's books himself, but he didn't "want to jeopardize any possible negative reaction [sic] with what has been to date completely positive for literally all concerned.” Hopkins retaliated by calling upon her legion fans to e-mail Guy Sconzo directly, and posted his e-mail. That was on the 10th of August. By the 17th, four other authors slated to appear in the festival had withdrawn, leading to a blogosphere-Twitter shitstorm, and then this past Saturday the Houston Chronicle reported that the school district had cancelled the entire festival, but also noted that the district had not considered Hopkins officially invited because it had never got "a contract in hand."

Seven things besides Guy Sconzo's name make this more entertaining than your run-of-the-mill middle-America censorship story. Namely, Hopkins's novels, which are called "Crank," "Burned," "Impulse," "Glass," "Identical," "Tricks," and, forthcoming in 15 Days, 7 Hours, 15 Minutes, and 36 Seconds as of this writing and according to a countdown clock on Hopkins's Web site, "Fallout" (tag line: "Are You Ready for Your Last Hit?"). This is what the covers of the books look like—

—the aesthetic of which (I'd call it addict-goth-horror-flick chic) tells you something about why parents wouldn't want to give them to their teens, and something about why teens find them as addictive as—well, let's not go there. Many of Hopkins's fans, who write to her and "friend" her in droves on MySpace, Facebook, Twitter, et al, can personally relate to the subject matter. A testimonial from a fifteen-year-old fan of "Crank," which is loosely autobiographical, based on Hopkins's daughter's addiction to crystal meth, reads:

I'm able to see me in this book not only because its about addiction but simply because you are able to capture truth and emotion as if it were you who experienced the monster.

It should be noted here that Hopkins's books are written in free verse. The style is simple and sensuous and dark, which is a way of saying that it appeals (I imagine) to the teen psyche in much the same way that vampire-lit does. In "Crank," the heroine, Kristina, describes her druggie alter-ego, Bree:

I suppose
she's always been
there, vague as a soft
copper pulse of moonlight
through blossoming seacoast
                                fog.

I wonder
when I first noticed
her, slipping in and out
of my pores, hide-and-seek
spider in fieldstone, red-bellied
                                phantom.

Hopkins is also a great storyteller: her characters are well-drawn and her plots are page-turners. They're often described as "epic."

None of this is why parents fear Hopkins, of course. Parents fear Hopkins because she writes about horrifying things—things no child should ever have to know about, things that most parents spend their lives trying to protect their children from—not from the point of view of a horrified adult, but from the traumatized child-victim's, in a style that's meant to speak directly to that trauma. What's most daunting about Hopkins, though, is that she never blinks. In an afterword to "Tricks," she offers this challenge: "I am often asked to describe how I decide to write about a certain topic. This one was inspired by a statistic I came across. Did you know that the average age of a female prostitute in the United States is twelve years old? ... Tricks looks at a handful of reasons that might drive a young adult to sell his or her body. " She has the pride of her convictions (and her talent), which she lays out bluntly in one of her posts about the Humble affair:

Sconzo went on to say that there are so many authors they could never have them all at their Teen Lit Fests. Like I’m just another author.... I am not just another author. I’m an author who is a voice for a generation that faces real problems every day. An author who tries to dissect those problems, look for reasons, suggest solutions, show outcomes to choices through characters who walk off the page. I’m an author who cares about her readership in a very real way. I am thoughtful, respectful of my readers, and not afraid to tell the truth.

It's a far cry from the blind, fearful hopefulness of Just Say No, isn't it? Will it work any better? I don't know. But I like that Hopkins very consciously aims at being the voice of the fifteen-year-old addict, the twelve-year-old prostitute. As she told the Chronicle, "There are kids who need to know they're not alone."

Winner: Hopkins. Time for Humble to eat some humble pie.

In the News: Books by Convicts and Six-Year-Olds

Mon, 08/30/2010 - 13:00

Murder she wrote: a book of jail-time correspondence by Amanda Knox, the American student convicted of murdering her flatmate in Italy, will be published in October.

The six-year-old British author Leo Hunter has signed a twenty-three book deal with Strategic Book Publishing.

Agatha Christie's family has criticized Wikipedia for giving away the ending of "The Mousetrap."

John Cusack will star in James McTeigue's film "The Raven," a thriller about the the last five days of Edgar Allan Poe's life.

Online only: future editions of the Oxford English Dictionary will likely not be printed.

The journalist Jules Loh died Sunday at the age of seventy-nine.

From the Cooper Union to the Plymouth Church in Brooklyn Heights, Mark Twain enthusiasts explore the author's New York stomping grounds on the centennial of his death.

Andrew Pettegree, the author of "The Book in the Renaissance," on the period when books were so new that no one quite knew how to sell them.

Fact-Checkers: Our Heroes

Fri, 08/27/2010 - 19:30

Fact-checkers are the hidden heroes of journalism, multi-talented polymaths who toil in relative anonymity, both at this publication and others. Which is why it’s an unexpected delight to see a new NBC Web series inspired—however loosely—by their efforts. “Fact Checkers Unit” began life in 2008 as a short film. The concept was simple: Dylan (Brian Sacca) and Russell (Pete Karinen) make up the fact-checking department—excuse me, “unit”— at Dictum, a fluffy celebrity-driven magazine. Their job? To verify critical information, like whether or not Bill Murray drinks warm milk before going to bed, or whether boot-cut jeans are indeed “so last year.” The self-described “fact vigilantes” take extreme measures to find out the truth, no matter how trivial. The short film has now been adapted into the Web series, with new episodes every Tuesday.

In the spirit of the series, I’d like to clarify a few points about fictional fact-checking versus what I know of the reality. First, the coffee machine at The New Yorker is nowhere near as nice as the one at Dictum. Second, New Yorker fact-checkers generally do not wear flak vests, at least not at the office. Third, our fact-checking department does not have a lucrative product placement deal with Samsung … yet. And finally, our department is the only one to have been immortalized by John McPhee, in his 2009 piece “Checkpoints.” What it lacks in celebrity cameos, it makes up for in insight.

Orphans of the Great Depression

Fri, 08/27/2010 - 16:00

Edward Newhouse, Maxwell Bodenheim. Edward Dahlberg. I'm guessing these names don't ring any bells. But Jason Boog thinks they should. In a wonderful piece in the Wabash College magazine, Boog, a freelance writer and an editor, tells about his own experience of being laid off in 2008, and struggling to make ends meet with his writing. During this dark period, he writes, there were only a few authors who spoke to his predicament, among them Newhouse, Bodenheim, and Dahlberg, a trio of New York writers (Newhouse and Bodenheim wrote for The New Yorker) who went through something similar during the Great Depression. Bodenheim, a best-selling novelist who lost everything in the crash of 1929, was forced to peddle poems for twenty-five cents apiece in Washington Square Park. Newhouse chronicled the plight of the homeless in the Bowery in his 1934 novel "You Can't Sleep Here." Dahlberg covered a police crackdown on a protest in Union Square in his 1932 "From Flushing to Calvary." Their books captured the times, but also the experience of struggling. Bodenheim wrote in 1934:

There’s something wrong with this world all right, but I can’t put my finger on it…Something must be wrong when a fellow can’t get a decent wage, can’t tell when he’s going to be fired, can’t look forward to any promise of happiness. Something is rotten somewhere.

Boog took refuge in this "literature of failure," as, presumably, many did when the work was first published. So why did it drop off the map? Boog guesses that

Americans don’t like to dwell on failure. As soon as the economic crisis passed, literary scholars abandoned these novels from the 1930s. Bodenheim spent the rest of his life in and out of flophouses, and never wrote another novel. Both Dahlberg and Newhouse went on to have careers as writers, but their 1930s work hasn’t been reprinted.

The Depression-era work of all three writers is, alas, orphaned (out of print but still under copyright, and thus not viewable on Project Gutenberg or Google Books). It seems a shame, doesn't it? We are awash in information about our current predicament and confronted constantly with the literature of speculative doom, but what might truly help us is literature documenting the social realities of living and writing in lean times. "We need their stories now more than ever," Boog concludes, "because nobody builds monuments to failed men."

(Left: Maxwell Bodenheim; Right: Edward Dahlberg)