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[LISTENED TO: October 5, 2010] Dubliners Part I

I found listening to Ulysses to be rather satisfying.  And, since I have recently commenced an indoor exercise regime, I thought it would be “fun” to listen to some audio books during the workout.  I started with Dubliners because and because Jim Norton is the reader (and I enjoyed his style on the abridged Ulysses) and because I own it.

It’s disconcerting to read/listen to Dubliners after Ulysses because Dubliners is such a conventional collection of stories.  There’s nothing untoward about them, there’s nothing scandalous (except for drinking and mistreating wives), and there’s nothing to be confused about (except maybe early 20th century Irish political references).  But one thing that  is abundantly clear is that Joyce was a great writer, right from the get go.

This disc’s stories are mostly between 10 and 21 minutes long, although “A Little Cloud” runs to half an hour.  The titles included in Part I are:

The Sisters
An Encounter
Araby
Eveline
After the Race
Two Gallants
The Boarding House
A Little Cloud
Counterparts
Clay

I’m not really going to review the quality of the audio.  It is uniformly very good, with Norton conveying accents wonderfully.  And those accents really bring the stories to life.  There is music in between each story, and the songs are all relevant to the time, if not the individual story. As with most of these audio books, it could be mixed louder, but that’s a minor quibble. Continue Reading »

[LISTENED TO: Week of October 10, 2010] David Foster Wallace interviews

There will soon be a group read of Consider David Foster Wallace, a book of essays about, yes, David Foster Wallace.  In a sort of preparation for the group read, I decided to immerse myself in the available audio files online.

The David Foster Wallace Audio Project hosts quite a vast collection of audio files, including interviews, readings and eulogies.  Even the Howling Fantods points to it.

I started with the interviews.  They cover the period from Infinite Jest to Consider the Lobster.  For the most part, the interviews took place on various NPR stations.  There are not a lot of details given about the items on the site (which is the only flaw that I can see with the site), but you can more or less tell from the titles given what book is the cause for the interview.

I know that DFW was not a fan of interviews, yet I can’t help but be surprised at how few interviews actually seem to be extant (or at least preserved online).  You can see a list of all of the interviews on the site.  I’m listing and giving very brief notations for some of the longer interviews, but I just don’t have the time/inclination to go into great detail. Continue Reading »

SOUNDTRACK: SUPERCHUNK-“Driveway to Driveway” (1994).

This disc is a first for Superchunk EPs.  The three “B” sides are all acoustic.  One of the nice things about that is that it showcases how good the songs are underneath all of the noise and distortion.

“Seed Toss” is from No Pocky for Kitty & “Sick to Move” is from Superchunk.  Obviously, they’re good songs or they wouldn’t have chosen them (out of all the back catalog…I mean, they could have chosen “Slack Motherfucker” after all).  And these acoustic versions are fun and interesting.

The final track is an acoustic “Driveway to Driveway.”  This is the most immediate in terms of comparison to the original (not least of which is the acoustic is a minute longer).  It allows them to breathe a little bit (and to make the lyrics more clear).

I’m not suggesting that Superchuink should be acoustic by any means, but it’s nice to hear the heart underneath the noise.

[READ: September 30, 2010] “Hawaiian Night”

Rick Moody is the fourth New Yorker 20 Under 40 author in the 1999 issue.

I’ve enjoyed a few of Rick Moody’s works (although now that I looked him up I found that he wrote a book called Garden State set in Haledon NJ (right near where I grew up…how did I not know this?…I shall have to read it very soon).

This piece seems like an experimental scene rather than a short story (or perhaps it’s from a longer work?).  It begins quite fascinatingly in a stark narrative style.  Pieces of information are doled out.  The information sets a scene with more and more detail. It is “Hawaiian Night” at a corporate picnic.  We see the limbo and the tuna skewers.  And then we meet the cast: dozens of interchangeable children having sanctioned fun amidst the adult workers.

And then suddenly things grow dark.   Continue Reading »

SOUNDTRACK: SUPERCHUNK-The First Part (1993).

The First Part opens with a guitar riff, very different from the chugga-chugga songs that they’ve played on the other tracks.  In fact, at the end of the verses, the bass backs out entirely leaving an interesting and unexpected sound for the song.

The second song, “Connecticut” is similar in that it also has a guitar riff (and a kind of solo) in the introduction.  The surprise comes at about a minute thirty-five when the guitar solo kicks in and the song suddenly shifts into an all out rocker.  This change is especially surprising since the song is just over 2 minutes long.

“Foolish” plays with a distortion-fueled repetitive riff that keeps the song moving.  It’s really quite infectious and something of a departure for the band.  This whole EP shows quite a leap forward in terms of Superchunk singles.

[READ: September 30, 2010] “The Toughest Indian in the World”

Sherman Alexie is the third author in the New Yorker’s 1999 20 Under 40 collection.

I have read a few Sherman Alexie pieces, and I’ve enjoyed what I’ve read.  And yet, for some reason, he’s not one of the authors I keep a look out for.

This story is about a newspaper writer. He is Spokane Indian.  We learn a little about his past.  And one thing–his father only ever picked up hitchhikers if they were also Native–is a tradition he follows today.  Even though his girlfriend doesn’t want him to pick up anyone.   We also learn a little about his previous girlfriends (like the white woman who only dated non-white men).

Alexie’s writing style is wonderfully fluid and relaxed during this background information. It’s a very easy read, and quite funny too.  But things change when he meets the titular toughest Indian. Continue Reading »

While I was looking around for Jonathan Franzen pieces in the New Yorker, I stumbled upon the first 20 Under 40 collection from 1999.  Since I had received so much enjoyment from the 2010 version, I decided to read all of the 1999 stories as well.  It was interesting to see how many of the authors I knew (and knew well), how many I had heard of but hadn’t read, and how many were completely off my radar.

I initially thought that they had published all 20 authors in this one issue, but there are five stories (including Franzen’s) that were just excerpted rather than published in full.  And I will track down and read those five in their entirety.  But otherwise, that’s a lot of fiction in one magazine (a few of the stories were quite short).  And it features a cover by Chris Ware!

So here’s the list from 1999.

**George Saunders-“I Can Speak™”
**David Foster Wallace-“Asset”
*Sherman Alexie-“The Toughest Indian in the World”
*Rick Moody-
“Hawaiian Night”
*A.M. Homes-
“Raft in Water, Floating”
Allegra Goodman-
“The Local Production of Cinderella”
*William T. Vollmann-
“The Saviors”
Antonya Nelson
-“Party of One”
Chang-rae Lee-
“The Volunteers”
*Michael Chabon-
“The Hofzinser Club” [excerpt]
Ethan Canin-
“Vins Fins” [excerpt]
*Donald Antrim-
“An Actor Prepares”
Tony Earley-
“The Wide Sea”
*Jeffrey Eugenides-
“The Oracular Vulva”
*Junot Diaz-
“Otra Vida, Otra Vez”
*Jonathan Franzen-
“The Failure” [excerpt]
***Edwidge Danticat-
“The Book of the Dead”
*Jhumpa Lahiri-
“The Third and Final Continent”
*Nathan Englander-
“Peep Show” [excerpt]
Matthew Klam-
“Issues I Dealt with in Therapy” [excerpt] Continue Reading »

SOUNDTRACK: THE DUCKWORTH-LEWIS METHOD-The Duckworth Lewis Method (2009).

This is a CD released by the combined forces of Neil Hannon of The Divine Comedy and Thomas Walsh of Pugwash.  And if that weren’t enough of a sales pitch, the title of the band is a method of calculating cricket scores!  And even more…in concordance with that, this CD is largely about cricket.  Huzzah!  Buncha sellouts.

I don’t know a thing about cricket, but I know about great orchestral pop, and this disc has it in spades.  Some of the more obvious cricket songs are even understandable to non cricketers (the themes of “Jiggery Pokery” are familiar to anyone who has failed in a sport–and musically it sounds like a silent film soundtrack).

“The Age of Revolution” begins with an olde-fashioned soundtrack as well (jazz swing, including tap dancing) but quickly jumps into a dancey discoey verse (the two soundtracks blend surprisingly well in the chorus).  And the revolution?  Well, it has something to do with cricket.  Next, “Gentlemen and Players” is a wonderfully Divine Comedy-esque track complete with harpsichords.

“The Sweet Spot” is another discoey dancey track with some funky bass work (and innuendo whispered vocals).  And “Rain Stops Play” is a fun musical interlude.

“Mason on the Boundary” is the first track that seems distinctly Pugwash-y.  Hannon and Walsh have similar singing styles, and I find it hard to know who is who sometimes.  But this track is clearly Walsh’s and it’s very nice indeed.  Similarly, “Flatten the Hay” has that distinct Pugwash XTC/Beach Boys vibe and it’s quite good.

“The Nighwatchman” is also a very DC type song (it even sounds a bit like “The Frog Princess” but pulls away before being a repeat of that great single by introducing some very 70s sounding strings).  The rest of the disc follows in this same wonderfully orchestrated pop feel.  This a great record that, as far as obscure bands that get no statewide attention go, is top notch.

Oh, an it’s even more fun with headphones!

[READ: October 9, 2010] Skippy Dies

Wow, there’s a lot going on in this book.  It’s exhausting just trying to think of all the topics covered: boarding school life, failed romance (two big ones), life as a teacher, the appeal of pop singer Bethani, the Catholic priest sex scandal, drugs of all kinds, sneaking into a girls’ school, World War I, institutional cover ups, M-theory–which is pretty much the entire universe, and donuts.

But let’s start at the beginning.  Yes.  Skippy dies.  In the first couple of pages.  And what’s fascinating about this is that we don’t care.  I mean, in the scene where he dies, he’s not even the major character.  But then Skippy turns out to be more or less the glue of the book once the story proper begins.

Skippy resides at Seabrook school in Dublin (the best, most prestigious Christian academy in the country–sorry Gonzaga).   His roommate is Ruprecht (perhaps the strangest major character name I’ve read in a long time).  Ruprecht is a large boy who is incredibly smart (he will single-handedly raise the school’s average on the year’s final exams).  He is a computer geek who is obsessed with aliens and SETI.  And he hopes to be able to communicate with the other world by using techniques suggested in M-Theory.  The book does an admirable job explaining M-theory and string theory.  I’m not going to take up space here, but there’s a fine description at Wikipedia (or, if you don’t like Wikipedia, here’s an academic explanation that is written for the lay person).

Anyhow, Skippy and Ruprecht are two of a few dozen boys who reside full time at the school.  (Most of the other kids are day students).  And they have a cadre of half a dozen friends that they hang out with who make jokes at each other’s expense.  It’s a very realistically written entourage.  Mario is Italian and claims to have had sex with many many women (thanks to his lucky condom which he has had for three years).  Dennis is the ballbreaker.  He’s the abusive one (but by most standards, he’s not a bad guy).  And a few other hangers on.

This story of dorm life is a good one.  The boys are funny, their stories believable, even if they are all eccentric in their own way.  And then, one day, Skippy sees a girl playing frisbee at the girls’ school across the way (Ruprecht has a telescope which he uses for the stars, while eveyrone else uses it for the girls’ school).  And Skippy winds up becoming rather obsessed with the unknown “frisbee girl.”

This girls’ school plays a part in the story in another way too.  Carl and Barry are the Seabrook’s thugs.  When Barry hits upon the idea of selling ADD meds to the locals (as diet pills), it’s the girls’ school that he mostly preys on.  For yes, this story is also about drugs. Continue Reading »

SOUNDTRACK: PAVEMENT “Stereo” on Late Night with Jimmy Fallon (2010).

Pavement were making the rounds of lat night TV around the time of t their Central Park reunion concert.  They showed up on Jimmy Fallon.  I don’t really like his show, but he has consistently great musical guests.

Pavement played “Stereo” which is a song I’ve always liked (the Geddy Lee part makes me smile), even though I never bought the album that it’s on.  This is one of their weirder songs (which is saying a lot).  The opening is all kinds of crazy noises (feedback and keyboard nonsense).  When the verse starts it’s all bass and drums, but when the song kicks in it rocks heavily and crazily.

The live version features a crazy cal and response from the keyboardist (which I enjoyed a lot) and some really great guitar work.  The video also has the winner of Fallon’s “Play Guitar with Pavement” contest, although I can’t tell how much he adds/subtracts from the performance.

[READ: September 24 & 25] “FC2” & “Books”

These three pieces were short, so I’ve decided to lump them together.

“FC2” is a Shouts & Murmurs piece.  I thought that the Shouts & Murmurs were all comic pieces. This one is funny but it’s not as “ha ha” as many of the other pieces I’ve read.  It even seems to be autobiographical.

Franzen says he had just recently written a section of “The Fifth Column” for the Village Voice.  And on this particular day he received a very suspicious package whose return address was FC2.   He speculates that the content of his section of the story may have triggered a psychopath to come after him.  (The Unabomber used to use the letters FC as his code, so perhaps FC2 is his protegé).

Obviously it didn’t blow up or anything, and the revelation is anticlimactic, but it’s still a mildly amusing tale. Continue Reading »

SOUNDTRACK: SUPERCHUNK-Mower (1993).

It was a robin’s egg and it was blue. Such is the oft-repeated line in the title track. It’s another great single from Superchunk:  poppy and cool and fun to bounce around to.

The second song, “On the Mouth” is a much faster, more punk track, apparently about frustrated love.

The final track is a live version of the song “Fishing.”  It’s one of the few live Superchunk tracks that I’ve heard (and it lasts over 5 minutes!).  It’s full of feedback squalls and lots of noise.  When the drums eventually kick in, it’s a fast-paced thundering experience.  The squealing guitar (and feedbacking outro) leads me to suspect that their lives shows were even more energetic than their albums.

[READ: October 4, 2010] “The Warm Fuzzies”

I have The Children’s Hospital from Adrian which I’ve been meaning to read for ages, but so many other things get in the way.  I have read a few of his short stories in McSweeney’s and the New Yorker. Adrian’s story was the final one of the 20 Under 40 stories in this year’s New Yorker list.

I felt this story was a little clunky at first.  I had a hard time keeping the story straight. And yet, once it settled down I found it really engaging and rather fascinating.

The story is about the Carter Family.  Not that Carter family, but another singing Carter Family. One day both mother and father Carter woke up and decided to stop being just the Carters; they decided to devote their life to Jesus in song.  And so, as it opens, we see The Carter Family practicing another one of their four chord songs.

In this particular practice, a new kid is playing the tambourine.   This new kid is, like all of the other new kids, a foster child and black.  This new foster child is named Paul, although he tells them all his name is Peabo.

The confusing thing in the beginning was just getting the hang of who all the family members were.  But once they were settled in, it was very easy to keep straight, and more importantly, to get hooked into the story.  We get a brief look at the family before music enter their lives, and we see how the children treat each other.  Each new foster child brings something new to the sound. And Paul/Peabo brings a bit of unexpected flair to their rather tepid music.  But the only one who seems to notice is Molly.  And really, this is Molly’s story. Continue Reading »

SOUNDTRACK: THE VIOLET ARCHERS-Victoria, BC, October 2005 (2005).

This live bootleg comes from the Rheostatics Live website.  If The Violet Archers were to become a huge internationally famous band (which, let’s face it, they’re not), this would be an awesome bootleg to have.  It’s from a show before their first album was released, and, if the stage banter is to be believed, before they’d even thought of a name for the band.  (There’s a joke that they wanted to call themselves The Gay Apparel, which is awesome).

Indeed, I assume that this show was recorded in 2004, not 2005 as listed online.

So, this show seems like it’s recorded in front of about 20 people.  The recording quality isn’t ideal (the drums sound pretty dreadful) but it conveys the spirit of the show very well.

The first two songs are just Tim and his acoustic guitar (“Simple” sounds great in this context although “All the Good” works better as a band number).  Then the band comes on.  Ida Nilsen is not with them yet, but the band sounds great together and the songs are fully formed (the album is said to be coming out in the next spring).

It’s a great show and Tim Vesely sounds a lot more like he did with the Rheostatics than he does on the regular album.  I guess the live setting brings out the old voice from Tim.  And I would be remiss if I didn’t mention the guitarist with the great name: Yawd Sylvester.  Outstanding!

[READ: September 28, 2010] “Imperial Bedroom”

This piece is about privacy. It was written 12 years ago, when the fear of the loss of privacy was in its infancy.  And Franzen makes a very convincing case that we were (and I assume still are) overreacting in a big way to fears of privacy loss.

He opens by noting that the panic about privacy is all the rage, excepted that the public doesn’t seem to be genuinely alarmed.   He sets his argument on the backdrop of the Clinton/Lewisnky Starr Report. And what he bemoans is that this most private of information is coming out of the most public of offices (and the most imperial of bedrooms).  [With the valid corollary–who is ever going to run for office if this kind of shit is going to be made public on such a grand scale?]

He gives us a basic history if the “right to privacy” which he says legally is a tough concept.  Because whatever you call the various forms of invasion of privacy, legally they often fall into other areas–trespass, defamation or theft.  What’s left is emotional distress, which is always a nebulous concept. Continue Reading »

SOUNDTRACK: SUPERCHUNK-The Question is How Fast (1992).

With a new CD out, and–even more impressive–an appearance on NPR’s Wait Wait, Don’t Tell Me, I thought it would be fun to revisit Superchunk’s output (starting with their EPs).

This is the earliest Superchunk EP that I own.  The title track is a bracing four minute blast of speedy alt-rock.  It has a poppy structure but the guitar is distorted enough to keep the song interesting over repeated listens.  Of course, it’s the catchy chorus that sells the song.  And it sets the tone for future Superchunk tracks: high pitched vocals sung loud and with unimpeachable pop sensibility.

The second track is “Forged It” a more punk-sounding track that, when the chord changes come in, makes it sound like it’s moving even faster.  A blistering guitar solo muscles its way into the song, too.  The final track is “100,000 Fireflies” a cover of The Magnetic Fields song (and one that they play quite often, it seems).  It’s given suitable bratty treatment from the band.

[READ: October 2, 2010] “Birdsong”

Chimamanda Ngozi Adichie is the second to last 20 Under 40 author from the New Yorker. This story has the delightful exoticism of being set in Lagos.

And yet, the basic premise is quite simple: a wealthy married man falls for a woman and they begin an affair.  It’s a fairly typical story of illicit love and jealous.  However, some details are rather different: he allows her to move into his “work” house (he bought it to turn it into condos, but he liked it so much he kept it as an office).  And she lives with him in this way for around 18 months.

Her office mate, a judgmental woman who she would never be friendly with if they didn’t work together is very disapproving of this affair, and always calls him, “your man” knowing fully well that he is actually someone else’s man.

And that, in addition to the love he clearly shows to his wife eats away at her.  So, in many ways, this is a fairly conventional story. Continue Reading »