I'm the author of the novels Solip, Say, Cut, Map, The Country, and The City. I've also written the nonfiction books EarthBound and Eat the Flowers. I'm currently publishing my novel A Task via Kickstarter in order to have an hourlong conversation with each of its first thousand readers. For a decade I published books through Sator Press, and for a decade I acted in film and television; now I help students at St. John's College. More info: kenbaumann.com.
I read a little more than half a Louisville Slugger’s worth. Not included: the books I started and didn’t finish. Included below but not pictured: books I’ve given to friends. It was a great year, though, in that I read more books that I know I’ll reread than in any other. In mostly scattered order:
What do you expect to pay for a paperback book? What if it’s 700+ pages? Books are really cheap entertainment. Do you think they should cost more?
Gossip until it’s not, but anyway: James Franco to write/adapt & direct As I Lay Dying and Blood Meridian.
Insightful read of Wallace’s philosophical concerns, passions. James Ryerson: Thank you.
Generously translated and sent by Paul Buchholz.
ZEIT: Do you like American writers?HANDKE: Not the recent ones. I’m always thinking again: how wonderful literature would be without all these period-, family- and society-novels. [Theodor] Fontane could maybe still do that, but today it’s a form of sagging culture. I translated Walker Percy, The Last Gentlemen and The Moviegoer, that is a great author. And I love Thomas Wolfe, his novel Look Homeward, Angel. These books have something lyrical, that is absolutely a part of them. With Jonathan Franzen for instance it doesn’t appear at all. He follows a knitting pattern, a scheme. Philip Roth is in the end only a master of ceremonies. But reading is an adventure. In a book, also in a society novel, its seeking movement has to be there in the language. There is no epic literature without a lyrical element. But that has completely disappeared from American literature. There have to be outbreaks, a controlled letting-oneself-go, not this recipe-like writing. Something has to emit from the author, whether that comes from his being lost or from his pain. When, with an author, one only sees the making–to avoid the word Mache [style]–that’s not enough.
Mike Kitchell: his big screening log.
Nassim Nicholas Taleb: “Don’t tell my publishers, but as soon as I see a book of mine in the stores, my book is dead for me. My book is only alive when I am still writing it otherwise it does not respond to me anymore (Socrates who hated the written word said the same about the statues of Daedalus: you cannot talk to them). I only like to talk about things (LIKE THIS) I am writing.” and “I was explaining Antifragility to my Italian publisher: a writer is antifragile, a blue-collar worker robust, others fragile. If I beat up an economist, I would spent a few days in an Italian jail, but book sales would shoot up and my message wd be authentic. People would be convinced of the validity of my DeVany-style workout. If a corporate executive did the same his career …” Both of those from his Facebook.
Kickstarter: Howard Glitch, a multimedia jigsaw puzzle.
Extra congratulations to Christopher Kennedy (my Tyrant 7 neighbor) and Maggie Nelson (author of the incredible Bluets) for winning a $25k NEA grant for poetry. Full list here.
