Wednesday, July 27, 2011
The Red Sox at the Trade Deadline
Thursday, July 21, 2011
What Went Wrong in American Food?
Thursday, July 14, 2011
The Baffling 2010 Elections
Thursday, July 7, 2011
Andrei Codrescu Is Up to Something...
Oddly enough, Post-Human Dada Guide is the most traditional of the three works. It is a work of philosophy or cultural studies that, are you ready for this, explores the idea of the “post-human” through the lens of Dada, the early 20th Century, though-it's-not-quite-right-is-quite-a-bit -easier-to-say, sort of Surrealist art, literature, philosophy, and life movement, while imagining a hypothetical chess game between Dada founder Tristan Tzara and, well, Lenin, THE Lenin. And it does what a work of philosophy does. It has endnotes in Codrescu's conversational style (not really the conversational style most use, but this guy's brilliant so, technically, it's probably how he converses), and a glossary, and if you've read any of the late 20th Century French philosophers, an acceptable prose style. The concepts are complex and the images imaginative, but it's a work of philosophy, and, even if philosophy isn't really your thing, you at least know how to interact with it.
But Whatever Gets You Through the Night, is different. It opens with a series of epigraphs, some of which seem like the kind of results that slip through Google filters and others are cited as coming from articles “published” in 2012. From there the book is a kind of mash-up of cultural studies and fiction. Codrescu retells the beginning of the 1001 Nights, footnoting the text to provide context as he goes along. However, quite often, the footnotes contain as much fantasy as the story itself, and many passages in the story veer into the style and content of criticism. Codrescu's style is like a cup of coffee in which milk has been stirred; you know the cup contains coffee and milk, but you can no longer see the boundary between them. Whatever Gets You Through the Night has both story telling and criticism, but they're woven together so tightly, it is often impossible to tell where one ends and the other begins. One then has to ask, what's the difference?
And yet, The Poetry Lesson might be the strangest of the three works. At least you can call Whatever Gets You Through the Night a novel, and shelve it in fiction (given that few bookstores and libraries have shelves for Free Range Meditations on the Action and Purpose of Sheherezade). The Poetry Lesson though is written in the tone and style of a memoir, claiming to be an account of the first day of a poetry class given by Codrescu. However, it is clear that the students in the class are characters and though they might have some connection to actual students Codrescu has taught, they are almost entirely fiction.
Once you realize the students are “fiction” the walls between non-fiction and fiction start to crumble. What does that do to the events in the book? Is there a distinction between fictional characters that are amalgams of real people and fiction characters that aren't? What does it mean for the thoughts Codrescu has and the statements he makes in the books? But at the same time, it doesn't have the distance and images of fiction. You know its not a memoir, but it feels like one.
I wrote about The Poetry Lesson for The Millions and the best conclusion that I came up with for getting a handle on what the book is, is to simply believe the title. It is not a novel, an essay, a memoir, a work of criticism, a statement of aesthetic purpose, or an ars poetica; it is a poetry lesson. It just happens to have an unusual pedagogy.
Taken together, the three books seem to be leading somewhere. The blending of genres, the intellectual depth, the exploration of storytelling; Codrescu seems to be wrestling with some of the questions of form and style raised by modernism and experimented on through post-modernism, but in a tone that is neither ponderous with severity nor dismissive with irony. He seems to approach the questions of genre and category as either already answered by earlier border busting works, or not important enough to be bothered with. And this is before grappling with the actual ideas in the books.
Codrescu is up to something and it might be even simpler than it at first appears. There are a lot of different ways to understand the drive for creating fiction. In a sense though, it's about constructing ways to say interesting things. One of my favorite things about reading is encountering sentences and statements that would be absolutely ridiculous if said out loud in conversation, but are absolutely brilliant within the structure of the work. The characters and events of fiction allow the writer to say interesting things that can't be said in regular communication. It might just be that Codrescu had interesting things to say and these books were the structures he developed that allowed those interesting statements.
Thursday, June 30, 2011
The Big Picture Economics of the $5 Admission Fee
Over the last few decades, Amazon, Barnes & Noble and Borders, and big box stores like Walmart and Costco, have changed customer expectations about the price of a book. Through a variety of techniques these companies are able to sell books at a price heavily discounted from the retail price suggested by the publisher, and have done so for so long that customers now assume the discounted price reflects the true cost of the book. (I’ve even heard of people talking about an indie store “mark-up” as if the price wasn’t printed on the cover.) But this really isn’t the case. Those companies are able to sell books so cheaply because they’re size allows them to sell at a such a volume that they can afford a very low profit margin on each individual book sold (all of them), they sell other stuff with a higher profit margin and so can afford to make very little or even lose money on book sales (Amazon and the big boxes) and/or they use their size to bully publishers into better discounts, lost millions of dollars over a decade in order to secure market share, and spend millions preserving a sales tax advantage (I’m sure you can guess who that is.). The result is that customers, in general, expect a new hardcover book to cost $10-15 regardless of what is printed on the cover.
But books are expensive. There are reasons why publishers print $25.95 on hardcovers and sell them to stores based on that price. A partial list of those reasons; authors, editors, secretaries, publicists, janitors, printers, IT guys to make sure the network stays up, graphic designers, technicians to convert files into the various ebook formats, accountants, delivery truck drivers, copy editors, did I mention authors...well you get the point. Simply put, if every hardcover copy of Freedom by Jonathon Franzen purchased at $28 had been purchased at the $12.99 ebook price instead, its publisher would probably have gone out of business. Quality books, written by authors who make a decent living from their work, that have been edited by editors committed to producing the best work possible, brought to the attention of readers by publicists who want a world filled with great reads, with covers that reflect the artistic sensibility of the work (or really any artistic sensibility) cannot be made for $10-15 retail a piece.
This is a major problem for publishing and small independent bookstores are its canaries in the mine shaft. For a long time, publishers were still able to get their money, even while their product was being radically devalued in the minds of consumers, and as long as they were still making ends meet, they did not act. (Of course, many of them did not make ends meet, but that’s a different post.) Because indie stores don’t have the same kind of price flexibility as other retailers, they simply could not match the artificially low price point now demanded by consumers. People stopped buying from them, and many went out of business. Furthermore, I believe many publishers are responding to the deep discount model by raising their suggested retail price. When Amazon gets a better discount, the publishers lose money, and the easiest way to recoup that loss is to raise the retail price the discount is applied to. If you haven't bought a hardcover book in a few years, check one out. But probably do it sitting down. In the last few years, the cover price of books have been rising at close to a dollar year. (I would not be surprised to see new hardcover fiction with $30 on the cover in the next 3 or 4 years.) In a way, this acts as a kind of subsidy. Those customers who shop indie, pay the much higher cover price, allowing publishers (who get more per book from indies) to stay viable while giving Amazon advantageous discounts. (Not all publishers do this, of course.) Amazon's model does result in cheap books, but it is partially supported by other customers willing to pay much more for their books. If nothing is done to change the system, one has to wonder what will happen to publishers if no one ends up willing to spend $28 for a new hardcover book. (And that's not even considering if Amazon one day decides to ask for discounts based on the $10-15 price point they've established, but that's just fearful speculation at this point.)
Because indie bookstores’ primary product has been so radically de-vauled, some are trying to monetize other services they provide, such as charging for admission for readings. Since books are not monetarily valued enough to run a sustainable business selling just books, some bookstores are considering “selling” readings as well to make ends meet. I'm not sure why this should be treated any differently than, say, Amazon selling server space or other e-commerce services. The nature of Amazon's business created secondary services and nobody blinks an eye when they monetize those secondary services. I don't really see why Amazon should have ethical permission to monetize its servers but indie bookstores don't have permission to monetize their readings. (Of course, publishers pay for aspects of readings, but, well, many of them give Amazon better discounts so...) Both business models sell books and have developed techniques and systems for selling those books and if those techniques and systems also have value to customers there shouldn't be any reason why only one of the business models is allowed to monetize them.