Posts Tagged ‘Michael Chabon’
May 15, 2013 | by Adam Sobsey
In Ivan Weiss’s trailer for Bull City Summer, guest photographer Alec Soth says, “What I’m doing here isn’t about the game of baseball.” Soth isn’t the first project participant to say this (or words to that effect). The notion has been with us virtually since Bull City Summer was conceived, more than two years ago. It has since grown into an informal slogan.
It’s curious to say that a project about a baseball team, set in and around a baseball park, isn’t about baseball. But in fact, the diamond has long refracted our attention outward from itself: Walt Whitman compared baseball to America’s laws and Constitution; more recently, Michael Chabon wrote, in Summerland, “A baseball game is nothing but a great slow contraption for getting you to pay attention to the cadence of a summer day.”
The “summer day” part is a little too pastoral for me (the vast majority of games are at night, anyway), but Chabon is right that a ballgame, with its pauses and blank spaces built around what Whitman called the “snap” and “fling” of the game’s energy and action, encourages you to take in everything around it—everything that “isn’t about the game of baseball,” as Soth says. Chabon and Soth are getting at why we call baseball the national pastime instead of the national sport. Read More »
January 17, 2012 | by Amie Barrodale
Paul Maliszewski is a friend of mine. He recently published a short-story collection called Prayer and Parable. Around the end of last summer, I asked him if I could interview him about it. We exchanged questions by e-mail for a week. Several times I said that I was incompetent—forget the whole thing—but Paul reassured me I was doing fine. What I especially like about the book is that Paul doesn’t compromise when it comes to portraying reality. He’s a little like Fellini in 8 ½: he preserves the confusion, meaninglessness, suddenness, and asa nisi masa of the everyday.
I have a question that might be a little bit unanswerable. I know you think a lot about individual sentences, and I wondered what makes a good sentence. Am I right in thinking that you give a lot of time to them?
I do give a lot of attention to sentences, but mainly because they don’t come out right for me on the first go-round, or the second, or the eighth, or the thirtieth. Revising takes me a lot of time. I drive myself crazy. I’ll just stare at lines. There are sentences in this book where I had a page, back and front, of all the different versions I was at one time trying. One sentence I’m thinking of was not particularly long or complex, but it was at the end of a story, and I didn’t want it to seem too ending-y, or pat. So there I was, scratching out, writing something new, circling back.
Reading like that is a hard thing to turn off. I catch myself revising e-mails and I think, What are you doing? When I’m working on a story or essay, if I find something messed up, I make myself start over and read it through again. If I find something else wrong, I start back over, and I keep starting over until I can read it without stopping, until I don’t suffer any doubts. That takes a long time, Worse, sometimes revising one sentence throws things off further down the page. It’s like I’m working on a pipeline and making a repair at one point, and whatever fix I make feels right, but it twists things around so that they get gummed up later. Read More »
June 28, 2010 | by Michael Chabon
Unearthing a Viking treasure.
In my career as a reader I have encountered only three people who knew The Long Ships, and all of them, like me, loved it immediately. Four for four: from this tiny but irrefutable sample I dare to extrapolate that this novel, first published in Sweden during the Second World War, stands ready, given the chance, to bring lasting pleasure to every single human being on the face of the earth.
The record of a series of three imaginary but plausible voyages (interrupted by a singularly eventful interlude of hanging around the house) undertaken by a crafty, resourceful, unsentimental and mildly hypochondriacal Norseman named “Red Orm” Tosteson, The Long Ships is itself a kind of novelistic Argos aboard which, like the heroes of a great age, all the strategies deployed by European novelists over the course of the preceding century are united—if not for the first, then perhaps for the very last time. The Dioscuri of 19th-century Realism, factual precision and mundane detail, set sail on The Long Ships with nationalism, medievalism and exoticism for shipmates, brandishing a banner of 19th-century Romance; but among the heroic crew mustered by Frans Bengtsson in his only work of fiction are an irony as harsh and forgiving as anything in Dickens, a wit and skepticism worthy of Stendhal, an epic Tolstoyan sense of the anti-epic, and the Herculean narrative drive, mighty and nimble, of Alexander Dumas. Like half the great European novels it is big, bloody and far-ranging, concerned with war and treasure and the grand deeds of men and kings; like the other half it is intimate and domestic, centered firmly around the seasons and pursuits of village and farm, around weddings and births, around the hearths of woman who see only too keenly through the grand pretensions of men and bloody kings.
It offers, therefore—as you might expect from a novel with the potential to please every literate human being in the entire world—something for everyone, and if until now The Long Ships has languished in the second-hand bins of the English-speaking world, this is certainly through no fault of its author, Frans Bengtsson, whom the reader comes to regard—as we come to regard any reliable, capable and congenial companion in the course of any great novel, adventure, or novel of adventure—as a friend for life. Bengtsson recreates the world of 1000 AD, as seen through the eyes of some of its northernmost residents, with telling detail and persuasive historiography, with a keen grasp of the eternal bits that pebble the record of human vanity, and with the unflagging verve of a born storyteller—but above all, and this is the most remarkable of the book’s many virtues, with an intimate detachment, a neighborly distance, a sincere irony, that feels at once ancient and postmodern. It is this astringent tone, undeceived, versed in human folly, at once charitable and cruel, that is the source of the novel’s unique flavor, the poker-faced humor that is most beloved by those who love this book. Though at times the story, published in two parts each consisting of two parts over a span of several years, has an episodic feel, each of its individual components narratives is well-constructed of the soundest timbers of epic, folk tale and ripping yarn, and as its hero grows old and sees his age passing away, that episodic quality comes to feel, in the end, not like some congeries of saga and tall tale but like the accurate representation of one long and crowded human life. Read More »