This site is made possible by member support. ❤️
Big thanks to Arcustech for hosting the site and offering amazing tech support.
When you buy through links on kottke.org, I may earn an affiliate commission. Thanks for supporting the site!
kottke.org. home of fine hypertext products since 1998.
A list of the 100 books every child should read. No Cloudy With a Chance of Meatballs and probably a little Brit-heavy for those in other countries but otherwise solid. Plenty of Roald Dahl (I still occasionally reread Danny, the Champion of the World).
Will Ashford takes used books and creates art and new meanings out of them.
At some unpredictable point along the way, in my mind, the images start to invent themselves. Using colored vellums, graphite and or India ink to highlight or obscure my words; I create the image of that invention. Though I strive to make each document visually engaging I find it is the words that I value most.
(via monoscope)
Update: Ashford’s work is quite similar to Tom Phillips’ A Humument, which was first published in 1970. (thx, joel)
Two-hour special on the History Channel called Life After People, 9pm tonight and rerunning throughout the week.
What would happen to planet earth if the human race were to suddenly disappear forever? Would ecosystems thrive? What remnants of our industrialized world would survive? What would crumble fastest? From the ruins of ancient civilizations to present day cities devastated by natural disasters, history gives us clues to these questions and many more.
This appears to be unrelated to Alan Weisman’s well-reviewed The World Without Us. If it comes down to watching this or Killer of Sheep, watch Sheep.
Short teaser for Generation Kill, David Simon and Ed Burns’ next project for HBO about the Iraq War. It’s from October but I hadn’t seen it until now so maybe you hadn’t either? The 7-hour miniseries is based on Evan Wright’s book of the same name. This video discusses the book and its subject matter. (thx, david)
Hey, New Yorker classical music critic (and blogger, and my summer neighbor, and Kottke interviewee) Alex Ross was quite rightly nominated for a National Book Critics Award over the weekend. (How could any book blurbed by Bjork not be?)
Late last week, Marc Andreessen pulled a quote from a New Yorker article written in 1951 about television:
The most encouraging word we have so far had about television came from a grade-school principal we encountered the other afternoon.
“They say it’s going to bring back vaudeville,” he said, “but I think it’s going to bring back the book.”
Before television, he told us, his pupils never read; that is, they knew how to read and could do it in school, but their reading ended there. Their entertainment was predominantly pictorial and auditory — movies, comic books, radio.
Now, the principal said, news summaries are typed out and displayed on the television screen to the accompaniment of soothing music, the opening pages of dramatized novels are shown, words are written on blackboards in quiz and panel programs, commercials are spelled out in letters made up of dancing cigarettes, and even the packages of cleansers and breakfast foods and the announcers exhibit for identification bear printed messages.
It’s only a question of time, our principal felt, before the new literacy of the television audience reaches the point where whole books can be held up to the screen and all their pages slowly turned.
This sounds far fetched and Andreessen belittles the prediction, but is it really that outlandish? Literacy rates in the US have risen since the advent of television (I am not suggesting a correlation) and Steven Johnson suggests in Everything Bad Is Good For You that TV is making us smarter.
If you stop thinking of TV in the specific sense as a box on which ABC, CBS, and NBC are shown and instead imagine it in the general sense as a service that pipes content into the home to be shown on a screen, the prediction hits pretty close to the mark. The experience of using the web is not so different than reading pages of words that are “held up to the screen” while we scroll slowly through them. If we can imagine that what Paul Otlet and Vannevar Bush described as the “televised book” and the “memex” corresponds to today’s web, why not give our high school principal here the same benefit of the doubt?
Very few science and ideas books made it on to the 2007 “best of” lists so Edge has provided a list of their picks for the year. I didn’t read any of the books on this list, although I’m currently 1/3 of the way through Jonah Lehrer’s Proust Was a Neuroscientist.
Barnes & Noble’s Media section is filling out nicely with audio and video interviews, readings, and conversations with a wide range of interesting authors.
A wiki documenting a book in progress: How Experts Fail: The Patterns and Situations in Which Experts Are Less Intelligent Than Non-Experts.
Infinite Jest once again proved finite, although it’s taken me since August to get through it. This book was such a revelation the first time through that I was afraid of a reread letdown but I enjoyed it even more this time around…and got much more out of the experience too.
Right as I was finishing the book, I read a transcription of an interview with Wallace in which interviewer Michael Silverblatt asked him about the fractal-like structure of the novel:
MICHAEL SILVERBLATT: I don’t know how, exactly, to talk about this book, so I’m going to be reliant upon you to kind of guide me. But something came into my head that may be entirely imaginary, which seemed to be that the book was written in fractals.
DAVID FOSTER WALLACE: Expand on that.
MS: It occurred to me that the way in which the material is presented allows for a subject to be announced in a small form, then there seems to be a fan of subject matter, other subjects, and then it comes back in a second form containing the other subjects in small, and then comes back again as if what were being described were — and I don’t know this kind of science, but it just — I said to myself this must be fractals.
DFW: It’s — I’ve heard you were an acute reader. That’s one of the things, structurally, that’s going on. It’s actually structured like something called a Sierpinski Gasket, which is a very primitive kind of pyramidical fractal, although what was structured as a Sierpinski Gasket was the first- was the draft that I delivered to Michael in ‘94, and it went through some I think ‘mercy cuts’, so it’s probably kind of a lopsided Sierpinski Gasket now. But it’s interesting, that’s one of the structural ways that it’s supposed to kind of come together.
MS: “Michael” is Michael Pietsche, the editor at Little, Brown. What is a Sierpinski Gasket?
DFW: It would be almost im- … I would almost have to show you. It’s kind of a design that a man named Sierpinski I believe developed — it was quite a bit before the introduction of fractals and before any of the kind of technologies that fractals are a really useful metaphor for. But it looks basically like a pyramid on acid —
To answer Silverblatt’s question, a Sierpinski Gasket is constructed by taking a triangle, removing a triangle-shaped piece out of the middle, then doing the same for the remaining pieces, and so on and so forth, like so:
The result is an object of infinite boundary and zero area — almost literally everything and nothing at the same time. A Sierpinski Gasket is also self-similar…any smaller triangular portion is an exact replica of the whole gasket. You can see why Wallace would have wanted to structure his novel in this fashion.
Marshall McLuhan’s advice on how to choose books:
Turn to page 69 of any book and read it. If you like that page, buy the book.
The Page 69 Test blog is evaluating McLuhan’s suggestion book by book.
Over at Making Light, Avram Grumer has kicked off a fascinating discussion from yesterday’s Brawndo post here at kottke.org.
Avram notes that the introduction of a product to the real world based on one from the fictional world is nothing new, citing Holiday Inn hotel and Bubba Gump restaurant chains as examples. While he’s coined the term “tlönian” for this phenomenon, based on the Borges story “Tlön, Uqbar, Orbis Tertius,” a commenter suggests “defictionalization,” a Google search of which currently places the Making Light discussion as the #2 result, so I’m thinking it has staying power.
Other notable examples of defictionalization: the Red Swingline stapler from “Office Space” (1999) (another Mike Judge movie!), the Buzz Rickson’s MA-1, made in black only after William Gibson wrote it that way in “Pattern Recognition,” and of course, Spinal Tap.
A Tap-related Polymer Records t-shirt is available at Last Exit To Nowhere, where fine defictionalized goods are sold. I’d wear it just to channel Paul Schaffer’s Artie Fufkin as frequently as possible.
And to the snackfood and energy bar manufacturers out there: who among you has the temerity to sell me some Soylent Green?
As an alternative to the various bestseller lists, the National Book Critics Circle is creating a monthly Best Recommended List of fiction, nonfiction, and poetry, as voted on by NBCC members. The first list is already up for your perusal and holiday gift-buying idea generation.
On the heels of their 100 notable books list, the NY Times whittles it down to the ten best of the year. I interviewed Alex Ross back in October about his top tenner, The Rest is Noise.
Cosmic Zoom is a 1968 animated short film directed by Eva Szasz, made under the auspices of the National Film Board of Canada, and was the inspiration of the Eames’ wonderful Powers of Ten. Cosmic Zoom was in turn based on Cosmic View: The Universe in 40 Jumps by Kees Boeke.
The NY Times has released their list of the 100 Notable Books of 2007. Because of the amount of online reading I do and Ollie, my book-reading rate has declined dramatically…I only read two of the books on this list and one of those was Harry Potter 7.
I want a proper e-book reader as much as anyone, but Amazon’s Kindle sounds underwhelming (and unfortunately looks, as a friend put it, like “the Pontiac Aztec of e-readers”). Amazon CEO Jeff Bezos says:
This isn’t a device, it’s a service.
That’s CEO-speak for “yay, we can charge you for buying this gadget again and again”. That emphasis makes it seem like the Kindle is less of a “read any text you want on the go” device and more of an interface for purchasing Amazon’s e-books, e-magazines, and blogs (yes, they’re charging for blogs somehow…). E-ink is a genuine innovation but until someone without some skin in the media game takes a good crack at it, e-book readers are destined to be buying machines and not reading machines.
Update: Here’s a list of all the blogs that Amazon is selling for reading on the Kindle. Subscriptions are $0.99-$1.99. No kottke.org (thanks, Amazon!!). Are the bloggers getting their cut of the subscription fees? Can I put kottke.org on there for free…or at least at cost? I suspect bloggers are getting a cut, with the rest taken by Amazon for profit and the conversion of the blogs’ text into whatever goofy format the Kindle uses. Would have been a lot cooler to put an RSS reader on there and just let people read whatever blogs they wanted.
Update: Joel Johnson has some more information about the Kindle after playing with one for a bit. The device service (sorry!) has an experimental web browser, on which you can browse whichever blogs and sites you wish (on Amazon’s dime).
Update: Engadget says, among other things, that “blogs that are aggregated by the Kindle get a revenue share with Amazon, since it costs money to get those publications.” (thx, daniel)
The Book Design Review blog offers up its picks for the best book covers of the year.
This article about tracing American slang words to their Gaelic roots seemed interesting at first but by the end I was wondering what the odds were that so many slang words came from Ireland. By chance shortly after I finished the article, Grant Barrett emailed me a piece he wrote in response to the article and its subject, Daniel Cassidy.
Cassidy’s theories are insubstantial, his evidence inconclusive, his conclusions unlikely, his Gaelic atrocious and even factitious, and his scholarship little better than speculation. In short, his book is preposterous.
When Italian police recently arrested Salvatore Lo Piccolo, the suspected head of the Sicilian Mafia, they also found a list of ten commandments that served as a guide for the behavior of Mafia members.
1. No one can present himself directly to another of our friends. There must be a third person to do it.
2. Never look at the wives of friends.
3. Never be seen with cops.
4. Don’t go to pubs and clubs.
5. Always being available for Cosa Nostra is a duty - even if your wife’s about to give birth.
6. Appointments must absolutely be respected.
7. Wives must be treated with respect.
8. When asked for any information, the answer must be the truth.
9. Money cannot be appropriated if it belongs to others or to other families.
10. People who can’t be part of Cosa Nostra: anyone who has a close relative in the police, anyone with a two-timing relative in the family, anyone who behaves badly and doesn’t hold to moral values.
I smell a future bestseller: Leadership Secrets of the Cosa Nostra…it’s the new 48 Laws of Power.
Update: There are already business books inspired by the Mafia: The Mafia Manager: A Guide to the Corporate Machiavelli and Tony Soprano on Management: Leadership Lessons Inspired By America’s Favorite Mobster for a start. (thx, gleb)
Michael Ruhlman is partially responsible (along with my wife, Jeffrey Steingarten, Thomas Keller, Bryan Boyer, and Lance Arthur) for my interest in food. His The Making of a Chef and The Soul of a Chef are two of my favorite books on the subject. His latest is The Elements of Cooking, a Strunk and White’s for the kitchen. Ruhlman explains who this book is for:
Every home cook who cares about getting better and every soul who is in or about to attend culinary school. I want all the young cooks who never went to culinary school and have always been nagged by the not-knowing-what-they-missed (probably not as much as they imagine) to buy it. I want every chef to buy it for his or her line cooks. And maybe most of all, beginners — I can’t imagine a better starting reference for cooking terms to go along with other food books. I want every professional cook to buy it for the people who cook for them when they’re not at work. In short I want everyone who cares about cooking to buy this book.
A few days ago, New Yorker writer Malcolm Gladwell noted that he’s almost finished with his third book. I’ve learned that the subject of this book is the future of the workplace with subtopics of education and genius. (That topic dovetails nicely with business consulting/speaking, no?) As with his previous books, hints of what the book will cover appear in his recent stories and interviews. Most relevant is an October interview with Gladwell in The Globe and Mail on “our working future”.
We will require, from a larger and larger percentage of our work force, the ability to engage in relatively complicated analytical and cognitive tasks. So it’s not that we’re going to need more geniuses, but the 50th percentile is going to have to be better educated than they are now. We’re going to have to graduate more people from high school who’ve done advanced math, is a very simple way of putting it.
Other recent and not-so-recent writings and talks by Gladwell on working, education, and genius include:
- his talk on genius from the 2007 New Yorker Conference
- The Risk Pool - What’s behind Ireland’s economic miracle and G.M.’s financial crisis? (more, more)
- The Myth of Prodigy and Why It Matters
- Getting In - The social logic of Ivy League admissions
- Brain Candy - Is pop culture dumbing us down or smartening us up?
- Gladwell’s personal work space
- Making the Grade
- The Talent Myth - Are smart people overrated?
- The Social Life of Paper - Looking for method in the mess
- The Bakeoff - Project Delta aims to create the perfect cookie
- Designs For Working - Why your bosses want to turn your new office into Greenwich Village
- The New-Boy Network - What do job interviews really tell us?
Malcolm Gladwell took a break from his day job to write another book and has returned to shorter form writing with a short blog post and a New Yorker article on criminal profiling.
A profile isn’t a test, where you pass if you get most of the answers right. It’s a portrait, and all the details have to cohere in some way if the image is to be helpful. In the mid-nineties, the British Home Office analyzed a hundred and eighty-four crimes, to see how many times profiles led to the arrest of a criminal. The profile worked in five of those cases. That’s just 2.7 per cent, which makes sense if you consider the position of the detective on the receiving end of a profiler’s list of conjectures.
The identity of anyone with information on Gladwell’s new book will be treated with the greatest of discretion…hit me on my burner.
Michael Lewis updates us on the Wall Street he wrote about in the excellent Liar’s Poker. It’s not such an alpha male environment anymore:
There is a new deal for the alpha male on Wall Street. He can make his millions, and he can still strut and preen and feel important. What he can’t do is sexualize his financial clout. In the late 1980s it was fairly routine for men on Wall Street trading floors to order up strippers; when a prominent bond salesman was fellated in a conference room just off the trading floor his colleagues were more amused than shocked. Not long ago a pair of Morgan Stanley employees was fired for merely attending a strip club in their off hours.
(via david archer)
Jane Ciabattari is a fiction writer, book critic and widely published journalist. She’s on the board of the National Book Critics Circle (for which she is a co-blogger on their Critical Mass blog) and is Vice President of the Overseas Press Club. Since it seems to me (a blogger, author, and NBCC member critic) that one of the great opportunities for blogs is to provide a wider audience—and greater number of voices—for criticism, I was thrilled that she took time out of a busy schedule to talk about blogs and the future of criticism.
I wrap up my week here at kottke.org tomorrow with an interview with Steven Berlin Johnson.
JT: What was the motivation behind starting the NBCC Critical Mass blog? It’s one of my essential reads. I also wonder: is there any irony in its excellence, given the rancor against bloggers that has come from newspaper critics this summer? Or some of the return-fire directed by bloggers?
JC: The idea of developing a literary blog for the National Book Critics Circle seemed natural. When it was launched in April of 2006, it provided an instant online community for those of us who are NBCC members and who are passionate about books and book criticism and book culture. It created a quick way for us to communicate with members, to address issues of note to us all, and to provide an ongoing “snapshot” of contemporary book culture by including interviews and lists of what authors and member critics in various parts of the world are reading.
It’s also allowed us to launch a number of ongoing series: In Retrospect, in which today’s critics re-visit all the finalists and winners of NBCC awards from the past 33 years; “Thinking About New Orleans,” about New Orleans writers displaced or disoriented by Katrina and its aftermath; and, of course, the NBCC Campaign to Save Book Reviewing.
The irony as I see it is that a number of newspaper reporters and literary bloggers implied that the NBCC was against blogging and in favor of print book reviews. This is an unfortunate and reductive—and unnecessarily divisive—perspective that I don’t share. The NBCC is in favor of a diversity of book reviewing forms. The content is not an issue. The forms merge, morph, transform. One evaporates here, another pops up there. This is part of a vibrant book culture that continues despite the shifts in book reviewing in recent months and years.
JT: I wonder what the role blogs play best in the book world? There’s a big difference between book discussion or gossip and book criticism—blogs do a great job of the former, but not such a great one at the latter: does it matter? Of course, a lot of lit-bloggers have gotten the attention of the newspapers and become critics in their own right: Mark Sarvas and Maud Newton come to mind. Is this going to be a kind of permanent divide—blogs for book culture and newspapers (or their Web sites) for substantive reviews?
JC: I think of this as a moment of pause, a transition, an exciting time in which to watch what the reaction will be to the changes in the newspaper world and elsewhere—as well as the growing familiarity with the gatekeepers of the blogosphere. I think we’re beginning to see some creative solutions evolve.
The NBCC membership includes not just print and broadcast reviewers, but literary bloggers like Mark Sarvas and Jessa Crispin and Lizzie Skurnick who are proprietors of literary websites. We have had two NBCC board members who have founded and hosted literary blogs that are now more than five years old and many literary bloggers are now reviewing for print publications or providing content for the online parts of newspaper book sections. The best of those, the Maud Newtons and Lizzie Skurnicks and others, are making that transition with no trouble.
I have written for The Guardian’s blog, and I read it regularly. The combination of the print edition of a newspaper’s book section and the expanded online editions, with blogs plus comments, additional reviews, seems like a natural thing and this format is building in this country—we now have multimedia book sections in The New York Times, the Washington Post, the Los Angeles Times, the Chicago Tribune, and others.
I would guess that within a few years the literary blogosphere will have been mostly digested by the websites of the larger newspapers, that the Hearsts and Murdochs and Newhouses of the world, who have the capital and the business savvy to figure out how to attract the most talented, will become the dominant forces online. Online readers are increasingly women, increasingly people over 40, and polls indicate that they will be most likely to trust the gatekeepers the know—i.e., newspapers with familiar names—to give them online news.
I have been listening to the dreams for broadband since before the dot.com collapse, and it is indeed exciting to have the speed and facility of highspeed Internet available for authors, critics, researchers, and students. But I am reminded by every passing thunderstorm and summer brownout or blackout that none of this works without a healthy electrical grid. And that some of the mountains and rural areas where I spend time, and some of the readers I know, people who want their children to be readers, are not able to afford or even obtain highspeed connections where they live: newspaper coverage of books is still very important to them.
We launched the NBCC Campaign to Save Book Reviewing in conjunction with the shift of the Los Angeles Times book review from a stand-alone section to a section combined with Opinion (and the shift of some content online) and the elimination of the book editor’s position at the Atlanta Journal and Constitution, the largest newspaper in the South and the literary home of many of the country’s great writers. There were lots of other newspapers going through transitions in books and arts coverage, too—as well as the fact that academic libraries began eliminating print versions of the literary quarterlies that are the lifeblood of American literary fiction and poetry in favor of electronic databases. It seemed a tipping point, and time for a conversation about the issue—one that we have been conducting both on the blog and through public panels.
What does the shrinking of print newspaper book coverage mean for authors? Novelist Lee Smith offered her perspective from North Carolina on the NBCC blog, noting that she was troubled when her latest book, On Agate Hill, came out last fall: “It was getting pretty good reviews, though fewer reviews. Then I got one really unfavorable review by an influential critic in a major city, which was reprinted in about 20 other newspapers that had cut back on their local coverage and were using syndicated book reviews. I was talking to my husband about all those bad reviews the book got, this was my own negative experience, my feeling about it, and he said, Wait a minute, it got ONE bad review, carried in 20 papers.”
Bottom line: It’s not great if newspapers are syndicating one review and spreading it around; it’s better if newspapers expand the number of books they review by doing it online. The small press books, the independent books, will always be in need of champions. At Critical Mass, I have started a series called Preview 2008, with a specific focus on small-press books that lack the promotional budgets of the larger publishers.
JT: Anyone who’s worked at a newspaper knows how discomfiting it can be to see all the books that go unreviewed—that’s something you don’t hear a lot about: questions about who gets reviewed, why, and so on. The world’s bloggers may not be the best critics (though many are wickedly smart): but from the writers’ and readers’ and publishers’ perpectives, wouldn’t we all be better off if publishers sent 100-200 galleys of every book to the 100-200 most-prominent bloggers in the circles of interest most likely to buy or enjoy a given book? It seems like there’s a lot of inefficiency in the marketplace—and a place for a burgeoning trend here, doesn’t it?
JC: As much as it makes sense to send galleys to prominent bloggers, I think you have to think first about readers; ultimately, the majority of online readers still go to newspaper websites for their information. The evolution of newspapers continues. Beginning in September, the Audit Bureau of Circulation will combine print and online circulation of newspapers, which I believe will show a better picture of what has been going on in the United States. In July, for instance, 59.6 million people visited newspaper websites, a 9 percent increase over the same period a year ago. Nearly eight in ten adults read a print or online newspaper each week. As I’ve noted, many of the best literary bloggers are writing for newspaper book review sections and online websites. Readers are also going to communities like Readerville.com, which is a terrific website for readers and writers. Internet space may be infinite, but readers are pressed for time: I suspect quality will out, online or off.
JT: Finally, I think one thing the blogosphere does extraordinarily well is broaden the base of discussion—while still preserving the idea of the cream rising to the top. It’s just that, on the Web, there are a lot more buckets. As critics and writers, should it matter to us that the “center doesn’t hold?” Is there really anything wrong with there being a large number of different centers—each connected to each, each permeable and in constant flux?
JC: I interviewed Yochai Benkler a number of years ago in a piece for New York Lawyer that predicted that he would be one of the attorneys under forty who would influence the 21st century. I am pleased to see he continues to break new ground, and I found his book fascinating. I see nothing wrong with a large number of different centers, interconnected, permeable, in constant flux: that is the nature of the Internet. Having reported from Cuba, where the flow of information is censored, and China, where the Internet is censored but only partially obstructed because of the various ways one can get around the firewalls, I would not want to see that constant flux impeded. But I also spend enough time in rural areas where broadband Internet connections are either unavailable or too expensive that I’m only too aware that printing is still an important technology—and that it’s important to maintain it for those who read newspaper book reviews, whether at home or in local libraries; whether from desire or necessity. To ignore the needs of this part of the American population would be to undermine our democratic roots—literacy is at the base of an educated citizenry.
That said, for me the ideal is a multi-media approach, with a maximum of choices. A world in which I can listen to public radio, read various newspapers online or in print, watch the BBC and Colbert and John Stewart, catch up with my favorite literary bloggers (chosen because I’ve come to know and love their sensibilities), and continue to have what the MacDowell Colony’s 100th anniversary slogan calls “the freedom to create.”
Subway map geeks rejoice:
Transit Maps of the World is the first and only comprehensive collection of historic and current maps of every rapid-transit system on earth. Using glorious, colorful graphics, Mark Ovenden traces the history of mass transit-including rare and historic maps, diagrams, and photographs, some available for the first time since their original publication. Transit Maps is the graphic designer’s new bible, the transport enthusiast’s dream collection, and a coffee-table essential for everyone who’s ever traveled in a city.
Found out about this from Boing Boing, where Cory has a quick review.
Richard Rhodes’ Arsenals of Folly is the third book in what is now a series of “Making of” books about the atomic age, picking up where The Making of the Atomic Bomb (for which Rhodes won the Pulitzer) and Dark Sun: The Making of the Hydrogen Bomb (which should have won a Pulitzer and is one of my favorite non-fiction books ever) left off.
In a narrative that reads like a thriller, Rhodes reveals how the Reagan administration’s unprecedented arms buildup in the early 1980s led ailing Soviet leader Yuri Andropov to conclude that Reagan must be preparing for a nuclear war. In the fall of 1983, when NATO staged a larger than usual series of field exercises that included, uniquely, a practice run-up to a nuclear attack, the Soviet military came very close to launching a defensive first strike on Europe and North America. With Soviet aircraft loaded with nuclear bombs warming up on East German runways, U.S. intelligence organizations finally realized the danger.
Random House has posted a portion of the first chapter from which I won’t quote because Rhodes’ storytelling style is nigh impossible to excerpt; he starts the story on page one and doesn’t relent until the final paragraphs. Like the above quote says, his nonfiction reads like a novel…reminds me of Tom Clancy’s books but meticulously researched and true.
Rita Skeeter J.K. Rowling:
Albus Dumbledore is gay and had fallen in love with fellow wizard and friend, Gellert Grindelwald.
Fan fiction writers, you know what to do.
Alex Ross is the music critic for the New Yorker and the author of a new book, The Rest is Noise: Listening to the Twentieth Century, “a history of the twentieth century through its music”. My interest in music skews toward the contemporary popular, so I recently took the opportunity to ask Ross a few questions about classical music from the novice-but-interested music listener’s perspective.
Jason Kottke: I’ve enjoyed classical music whenever I’ve heard it, but I don’t know too much about it. Where might I begin to explore further?
Alex Ross: My big thing is that classical music doesn’t really exist. When you have a repertory that goes from Hildegard von Bingen’s medieval chant to Vivaldi’s bustling Baroque concertos to Wagner’s five-hour music dramas to John Cage’s chance-produced electronic noise to Steve Reich’s West African-influenced “Drumming,” you’re not talking about a single sound. Whatever variety of noise you desire, we’ve got it at the classical emporium. I’d suggest plunging it at various ends of the spectrum - some Vivaldi or Bach, the Beethoven “Eroica” or some other big-shouldered nineteenth-century classic, Stravinsky’s “Rite of Spring” (which foreshadows so much pop music to come), and Reich or Philip Glass. The idea is to get a feeling for what composers were trying to express at any given time, and, of course, deciding whether you want to follow them. There’s no correct path through the labyrinth.
Kottke: I just received a copy of your book in the mail, and it’s got a “Suggested Listening” section following the endnotes with 10 recommended recordings and 20 more if you make it through those. How did you go about choosing those? Narrowing the 20th century musical landscape down to 30 recordings…that’s pretty cheeky.
Ross: It’s very hard, not to mention cheeky, picking recommended recordings, because so often it’s a matter of personal taste, both in terms of what works really “matter” and also in terms of which recordings are best. The almighty “Rite of Spring” has received any number of brilliant recordings over the years. Having picked one of Stravinsky’s own versions - he had such a great feeling for rhythm as a conductor - I immediately wondered whether I should have chosen the recent Esa-Pekka Salonen/LA Philharmonic version on DG, which is in gleaming modern sound and is as rock-solid as any “Rite” of modern times. So it’s subjective and leads to endless argument. But I was simply recommending a bunch of starting points, not the be-all end-all ultimate Top 10 of all time. I favored recordings that were cheap, that covered a lot of ground in 60 or 70 minutes. People can listen to excerpts on iTunes and Amazon and see if they really want to plunk down the cash. One thing’s for sure: you do need to own the “Rite,” no matter what kind of music you love. It’s the original sexy.
Kottke: Related to the first question, when I go to Amazon and search for “Beethoven”, there are over 10,000 results just in the classical music category. There are even more results for Bach. Are there significant differences between all the different versions of their music? How does the bewildered beginner pick the “right” version of Bach’s works to listen to? Should you look for brand names (e.g. Yo-Yo Ma), only buy music recorded by major symphonies or put out by certain record labels, or just get whatever is cheapest?
Ross: It’s definitely overwhelming - a serious glut. I’ve been reviewing for fifteen years and in the last year or two I seem to be getting twice as many CDs as ever - not to mention all the MP3s that composers and ensembles have put up on the Internet. There are definitely some significant differences among recordings. You have a lot of expert but boring renditions and then you have the ones that touch perfection or posses exceptional emotional power. Listen to Lorrane Hunt Lieberson singing the Bach cantatas and everyone else will sound a little wan. Certain people are always reliable - Yo-Yo Ma is ever eloquent, Mitsuko Uchida is a great pianist, Claudio Abbado makes one great or near-great orchestral recording after another. You can tell from Amazon reviews when a recording has really knocked people sideways. But live concerts are always better! I’m sometimes more moved by a not great but heartfelt live performance than by a world-class recording. In the hall you feel the weight of the cellos, the resonances of tones in space, the response of the crowd, all those intangibles. Tickets are less expensive than you may think. Particularly if you’re a student, you can get amazing deals - $12 tickets for the New York Philharmonic, for example.
Kottke: One of the things I’ve noticed about classical music recordings is how reasonably priced they are, particularly the pre-20th century music. Have you read any of Discover Your Inner Economist by Tyler Cowen? In it, he suggests that to get the most value out of your music buying dollar, you should pay more attention to music that hasn’t been recently released, the idea being that there are more gems to be found in the last 200 years of music than in this week’s Billboard lists. I have a feeling you might agree with that view.
Ross: That’s an interesting theory. If you buy Maria Callas’s recording of “Tosca,” chances are it’s probably still going to deliver the goods twenty years from now, if CDs or MP3s still exist then. Fergie is maybe a riskier long-term bet. Also interesting is Chris Anderson’s Long Tail concept, which suggests that there’s more hidden commercial power in these thousands upon thousands of classical recordings than anyone suspected, even if they sell only a few times a year. The Naxos label says it gets 30-40% of total digital sales from albums that are downloaded 4 times a month or less. In any case, there’s now a huge catalogue of classical CDs that go for $10 or less. The Tashi recording of Messiaen’s “Quartet for the End of Time,” one of my top 10 picks, goes for $8 on Amazon. The Amazon download site was for a while offering Wagner’s entire sixteen-hour “Ring” cycle for $13.98. This turned out to be a clerical error, but enough classical-heads converged on the bargain that for a day or two Richard Wagner was the #1 downloaded artist on Amazon, beating out Kanye West. That amused me. Watch out for these classical guys - they start slow but beat you in the end.
Kottke: Let’s say you’re still around 80 years from now, writing a sequel to The Rest is Noise about music from 1980 to 2080. What contemporary music (circa 1980-2007) will still be important and relevant in 2080?
Ross: That’s a tough question! Critics often turn out to be very wrong about what’s truly important in their own time. George Bernard Shaw, for example, considered Hermann Goetz a great composer, a worthy successor to Beethoven. Though is “wrong” the right word? If Shaw had deep feelings about that music, he was, within his personal frame of reference, absolutely right. In classical music we maybe focus too much on the idea that the opinion of posterity is the only one that matters. In any case, here are twelve works that I believe will still matter to me, at least, if by some medical miracle I’m still around in 2080:
Steve Reich, Different Trains
John Adams, Nixon in China
Kaija Saariaho, L’Amour de loin
Sofia Gubaidulina, Offertorium
Gérard Grisey, Les Espaces acoustiques
Arvo Pärt, Da pacem domine
Louis Andriessen, De Stijl
Thomas Ades, Asyla
Georg Friedrich Haas, in vain
Michael Gordon, Decasia
Magnus Lindberg, Kraft
Osvaldo Golijov, St. Mark Passion
—-
Thanks, Alex. We’ll be checking back with you in 2080 to see how you fared. Ross has a piece out in the New Yorker this week about classical music and the internet that’s related to our conversation above. He’s also constructed a fantastic enhanced bibliography for the book that includes audio samples of some of the music written discussed in the book, presumably to reduce the dancing about architecture effect.
An extensive collection of human anatomical atlases, all scanned for your online viewing pleasure. Lots of wonderful images…all in the public domain, BTW.
Stay Connected