Merry Christmas Eve! For your holiday reading pleasure, here’s a round-up of some of my favorite book reviews posted on HTMLGIANT in 2012, in reverse chronological order of post date:

HIS STACK OF PALIMPSESTS
Tyler Flynn Dorholt on The Recognitions by William Gaddis
This is a monster review for a monster book. Maybe one of the best pieces of writing you’ll read on The Recognitions.

25 Points: Strange Cowboy
Joseph Riippi on Strange Cowboy: Lincoln Dahl Turns Five by Sam Michel

25 Points: The Book of Monelle
Janice Lee on The Book of Monelle by Marcel Schwob; Trans. by Kit Schluter
I know. This is my review. Really I’m including it in this list because I’m not doing a Top Books of 2012 list or anything like that this year, and instead, I’m recommending you just this one book. Seriously. I’m recommending just one book to all of you this year, and it is this one, so check it out.

Dreams for Kurosawa/Raul Zurita (trans. Anna Deeny)/A View
Carrie Lorig on Dreams for Kurosawa by Raúl Zurita; Translated by Anna Deeny
It’s really beautiful to see the wear of a well-read book. Carrie’s personal review  helps to portray the brilliance of Raul Zurita’s poetry.

Needing Don DeLillo
Grant Maierhofer on the work of Don DeLillo

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Thunderbird
by Dorothea Lasky
Wave Books, October 2012
128 pages / $16  Buy from Wave Books or SPD

Dorothea Lasky’s third poetry collection, Thunderbird, begins with the lines “Baby of air / You rose into the mystical / Side of things”—which immediately prompted me to hum Van Morrison’s “Into the Mystic.” It wasn’t a great start to reading this book, but what I realized was that it wasn’t the word “mystical” that brought a song to mind so much as it was the lyricism of Lasky’s writing. As I hummed on, I recognized that the language of “Baby of Air” works through patterns, creating emotion tenor through lines that build on each other. A few lines later, Lasky writes, “People cannot keep air in / I blow air in / I cannot keep it in.” These lines are not typical, flowing lyrics packed with sound play, but are instead a series of seemingly simple phrases that amass meaning through repetition. At times, Lasky’s lyricism even has a blues-like effect in lines like “O you are already there / O you are already there / My brother tells me, you are already there.” Even in this opening piece, poetic lyricism and song come together to form both voice and emotional resonance to carry the reader through the rest of the collection.

However, Lasky’s language does not end at simple repetition. Mixed with this lyric quality (and sometimes at odds with it) are straightforward statements that strike the reader through their baring of the intimate. At times, this approach takes on the negative association of confessionalism—the self-indulgent statement of personal emotion that shuts out the reader—however, at Lasky’s best she filters this private emotion through straightforward statement, creating for the reader a realistic portrayal of human (universal) feeling.

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Infinite Jest
by David Foster Wallace
Little, Brown, 1996
1104 pages / $17.99 buy from Powell’s

1. David Foster Wallace was born in a small town in western Ohio, best known for its jar factory. This would figure in the book, Infinite Jest.

2. The first three pages of Infinite Jest are like a key to the novel. Without them you’ll probably be lost.

3. A palm tree is a recurring motif in the book, which seems to represent an opening and closing of the author’s heart.

4. DFW first wrote the manuscript to Infinite Jest when he was 22. He put it in a box that he carried from apartment to apartment as he studied at various schools or followed various women about the country.

5. By the third chapter, with the introduction of the character of the cabbie, you’ll probably feel confused and even ready to give up. Most people do right here.

6. Infinite Jest will seem like the driest book you’ve ever read. DFW needed to wring out the wet in literature.

7. A capable reader will read 22 pages at a time. Don’t worry if you aren’t capable. Most of us won’t be.

8. DFW refound the manuscript of Infinite Jest at age 33, when he was moving out of the house near Tulsa. He didn’t think much of it, apparently.

9. In a survey of college students, most readers found themselves skipping an average of 2 pages every 10.

10. At one point, the cabbie finds a note from his wife. This seems to represent a fracturing of the potency of language. READ MORE >

Down These Mean Streets
by Piri Thomas
First published 1967, Knopf.
Vintage Edition, 1997
352 pages / $14.95  Buy from Amazon

In the essay “The Simple Art of Murder” for The Atlantic Monthly in 1945, noir author Raymond Chandler wrote “Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.” While Chandler was speaking about detectives in novels, the same could easily be said about youth growing up in inner city neighborhoods. The first person publicly known to make the connection was Knopf editor Angus Cameron, who paraphrased this on a manuscript he was given titled “Home Sweet Harlem” by a man named Piri Thomas. The manuscript, which was published by Knopf in 1967, would become known as Down These Mean Streets.

In May of that year, critic Daniel Stern of The New York Times reviewed the memoir, saying, “It is something of a linguistic event. Gutter language, Spanish imagery and personal poets…mingle into a kind of individual statement that has very much its own sound…” Little did Stern realize that so-called “gutter language” would have such an impact on contemporary literature. Subsequently the novel was later banned in multiple school districts across the country (including District 25 in Queens, New York) on the basis of obscenity.

The ban in Queens was not lifted until five years later, even after it was brought to court by the New York Civil Liberties Union.

Published several years after Claude Brown’s Manchild in the Promised Land, (which unlike Thomas’ memoir is an autobiographical novel) the book was marketed using language akin to the sensationalism of most modern tabloids, as any reader can see on the front and back covers of Signet’s 1968 reprint. Phrases such as “savage power” and “the brutal code of machismo” plainly indicate a widespread culture of ignorance. Thus was the attitude of publishers about works based on the experiences of people of color in 1968. Whether much has changed in the publishing industry’s attitudes about urban literature now is an entirely different discussion.

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