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Posts Tagged ‘Dickens’

The Thief of Time

October 31, 2011 | by

“Moments are the elements of profit,” Karl Marx wrote in Capital, quoting from an 1860 report by one of the British government’s factory inspectors. Marx believed that the uniformity of time underlay the fungibility of money; the time it took to make a commodity was, according to his theory, the basis of its value in the marketplace. If it takes ten hours to make an overcoat and ten to make a wheel of Stilton cheese, the coat and the cheese can be fairly traded. After all, a coat maker’s ten hours mean as much as a cheesewright’s. Or, as Thoreau put it, somewhat more poetically: “The cost of a thing is the amount of what I will call life which is required to be exchanged for it, immediately or in the long run.”

Andrew Niccol’s new movie In Time brings the labor theory of value to the big screen with bold literalness. In the future, thanks to genetic engineering, everyone’s physical appearance ceases to develop or decline at age twenty-five, at which moment, with a silent, monitory thump, a stop watch on the left forearm—a cross between an Auschwitz serial number and a lime-green digital alarm clock—begins ticking down from one year. To get more time, one must beg, borrow, steal, or work, and with sufficient wealth, one can live forever. Read More »

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L.A. Advice: Writers Dating, Fear of the Blank Page

October 7, 2011 | by

Last night, seventy-five or so Angelenos gathered at the Standard, Hollywood to listen to Ann Louise Bardach, David Kipen, Jonathan Lethem, Tom Lutz, and Michael Tolkin answer audience questions on life, love, and books. Subjects ranged from The Onion (everyone’s favorite contemporary humor publication) to Dickens (in whom “the archetypes for all modern fiction can be found”) to the possibility of making a living as a poet (consensus: other sources of income help). What follows are a few of the questions the panel addressed.

Should writers date each other?

Tolkin: No.
Bardach: Sure, but not in the same genre. That’s the important thing.
A guest: A writer and a reader?
Bardach: Well, yes, every writer should have one.

How does one get over the fear of the blank page?

Tolkin: First of all, it’s more a blank screen now. Don’t leave it blank. Put something on it, anything. If it’s bad, you can improve it, tear it apart. If it’s good, even better. The important thing is getting something down, taking that step.

How does it feel when your book is adapted [into a movie] but you’re not asked to be involved? Is it hard?

Tolkin: I take the money and run.
Lethem: I’d actually prefer not to be involved. I mean, I wrote the book: I’ve spent all that time with it already. And it’s a very different medium. Better to work on someone else’s story.
Lutz: Screw up someone else’s book, you mean.
Kipen: Thus far, no one has tried to adapt any of my book reviews. But I’m open to it.

What are your goals for a new novel? What’s your hope for it?

Tolkin: Kill every other book on the shelf.
Lethem: It’s a great line, but I actually feel the opposite: it’s those other books on the shelf that inspire me, and I want to join their company, add to that conversation. And, you know, looking around this room—I’m going to get very sincere, here—it’s affirming. This is not what we are made for, what I am made for. We sit and we write words, and for whatever reason, you’re all out here to listen, and see us. We’re in this strange, solitary profession, hoping to connect with a few people and, look—we packed a room.

Have a question for the editors of The Paris Review? E-mail us.

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Staff Picks: A Fan’s Notes, Foster Wallace on TV

September 2, 2011 | by

In light of the recent article about TV producer Michael Schur and his obsession with David Foster Wallace, I spent tropical storm Irene watching the first two seasons of Parks and Recreation for signs of the maestro. At least, that’s why I watched the first couple of episodes. Then, well—it was just like that scene in Infinite Jest with the Saudi medical attaché, only with Netflix. —Lorin Stein

September is officially the beginning of football season in America and the perfect time to read the best football book ever written, Frederick Exley’s fictional memoir A Fan’s Notes, which has nothing to do with the game and everything to do with why we watch it. —Cody Wiewandt

I was immediately taken with Jeff Sharlet’s new book Sweet Heaven When I Die. All I had to do was open to the first lines of  “Sweet Fuck All, Colorado:” “When I was eighteen I fell hard for the state of Colorado as embodied by a woman with long honey blond hair and speckled green eyes, who drank wine from a coffee mug and whiskey from the bottle.” —Deirdre Foley-Mendelssohn

I escaped the hurricane but got stuck in Chicago this weekend, which at least gave me a chance to spend time at one of my favorite Evanston bookstores, Market Fresh Books (they sell books for $3.99 a pound!). Among the treasures I picked up was an illustrated 1882 edition of Nicholas Nickleby, which I was all the more excited to dive into after reading in last week’s New Yorker about all the “fun” at Dickens camp. —Ali Pechman

Let’s hear it for small presses! Bookthug, an indie house in Toronto, recently reissued bpNichol’s The Captain Poetry Poems. Originally released as a mimeograph by bill bissett in 1970, Bookthug’s edition marks the first complete publication of all of the poems in the series, plus a smattering of drawings by Nichol. This is joyous, mythmaking poetry at its best. —Nicole Rudick

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