Infinite Summer 2011

Infinite Jest

or, Finally Reading the Greatest Book, Like, Ever, in 92 Days

Some time ago I encountered Infinite Summer, an internet book club project wherein a broad assortment of readers around the world read and discussed David Foster Wallace’s Infinite Jest over the summer of 2009. Either I discovered the project too late, or I wasn’t ready to tackle it, but for lots of reasons, I feel ready now. This is the year.

Why Infinite Jest? I’ve heard enough about it (and read enough bits of Wallace here and there) that I’ve known for a long time that this needed to happen. It’s not just the most acclaimed novel in a billion years, it seems to be a book tailor-made for me. I hope not to become one of those insufferable dudes who can’t shut up about it, but I’m ready to at least become a dude who has read it. If you’re also ready to cross this monster off your bucket list, join me.

How to Read Infinite Jest? Matt Bucher has a useful list of tips by that title. Jason Kottke has too. Most importantly: read the endnotes, use multiple bookmarks, and don’t give up.

But I Don’t Have Time! Yeah, me neither. But I’m gonna make time. It’s 10 pages a day. And your TV shows are over now anyway. Now are you gonna stand there with your butt on the back of your body or are you gonna get in on this?

What’s the Plan? Well, I’m not an army of bloggers, so I’m making it up as I go along. I doubt I’ll blog about it here very much, but I’ll probably tweet about it. Some other folks had the same idea independently, although their rough schedule is a little different than mine. Here’s a chart of roughly where I plan to be at the end of each day:

[every print edition of IJ has the same pagination. This doesn't count the 100 pages of endnotes, which will be read along with whatever section they belong to. If you're on a Kindle, you're on your own - though the Infinite Summer 2009 schedule may help.]

INFINITE SUMMER 2011
Day Weekday Date Page % finished
1 Wednesday 6/1/11 11 1.09%
2 Thursday 6/2/11 21 2.17%
3 Friday 6/3/11 32 3.26%
4 Saturday 6/4/11 43 4.35%
5 Sunday 6/5/11 53 5.43%
6 Monday 6/6/11 64 6.52%
7 Tuesday 6/7/11 75 7.61%
8 Wednesday 6/8/11 85 8.70%
9 Thursday 6/9/11 96 9.78%
10 Friday 6/10/11 107 10.87%
11 Saturday 6/11/11 117 11.96%
12 Sunday 6/12/11 128 13.04%
13 Monday 6/13/11 139 14.13%
14 Tuesday 6/14/11 149 15.22%
15 Wednesday 6/15/11 160 16.30%
16 Thursday 6/16/11 171 17.39%
17 Friday 6/17/11 181 18.48%
18 Saturday 6/18/11 192 19.57%
19 Sunday 6/19/11 203 20.65%
20 Monday 6/20/11 213 21.74%
21 Tuesday 6/21/11 224 22.83%
22 Wednesday 6/22/11 235 23.91%
23 Thursday 6/23/11 245 25.00%
24 Friday 6/24/11 256 26.09%
25 Saturday 6/25/11 267 27.17%
26 Sunday 6/26/11 277 28.26%
27 Monday 6/27/11 288 29.35%
28 Tuesday 6/28/11 299 30.43%
29 Wednesday 6/29/11 309 31.52%
30 Thursday 6/30/11 320 32.61%
31 Friday 7/1/11 331 33.70%
32 Saturday 7/2/11 341 34.78%
33 Sunday 7/3/11 352 35.87%
34 Monday 7/4/11 363 36.96%
35 Tuesday 7/5/11 373 38.04%
36 Wednesday 7/6/11 384 39.13%
37 Thursday 7/7/11 395 40.22%
38 Friday 7/8/11 405 41.30%
39 Saturday 7/9/11 416 42.39%
40 Sunday 7/10/11 427 43.48%
41 Monday 7/11/11 437 44.57%
42 Tuesday 7/12/11 448 45.65%
43 Wednesday 7/13/11 459 46.74%
44 Thursday 7/14/11 469 47.83%
45 Friday 7/15/11 480 48.91%
46 Saturday 7/16/11 491 50.00%
47 Sunday 7/17/11 501 51.09%
48 Monday 7/18/11 512 52.17%
49 Tuesday 7/19/11 522 53.26%
50 Wednesday 7/20/11 533 54.35%
51 Thursday 7/21/11 544 55.43%
52 Friday 7/22/11 554 56.52%
53 Saturday 7/23/11 565 57.61%
54 Sunday 7/24/11 576 58.70%
55 Monday 7/25/11 586 59.78%
56 Tuesday 7/26/11 597 60.87%
57 Wednesday 7/27/11 608 61.96%
58 Thursday 7/28/11 618 63.04%
59 Friday 7/29/11 629 64.13%
60 Saturday 7/30/11 640 65.22%
61 Sunday 7/31/11 650 66.30%
62 Monday 8/1/11 661 67.39%
63 Tuesday 8/2/11 672 68.48%
64 Wednesday 8/3/11 682 69.57%
65 Thursday 8/4/11 693 70.65%
66 Friday 8/5/11 704 71.74%
67 Saturday 8/6/11 714 72.83%
68 Sunday 8/7/11 725 73.91%
69 Monday 8/8/11 736 75.00%
70 Tuesday 8/9/11 746 76.09%
71 Wednesday 8/10/11 757 77.17%
72 Thursday 8/11/11 768 78.26%
73 Friday 8/12/11 778 79.35%
74 Saturday 8/13/11 789 80.43%
75 Sunday 8/14/11 800 81.52%
76 Monday 8/15/11 810 82.61%
77 Tuesday 8/16/11 821 83.70%
78 Wednesday 8/17/11 832 84.78%
79 Thursday 8/18/11 842 85.87%
80 Friday 8/19/11 853 86.96%
81 Saturday 8/20/11 864 88.04%
82 Sunday 8/21/11 874 89.13%
83 Monday 8/22/11 885 90.22%
84 Tuesday 8/23/11 896 91.30%
85 Wednesday 8/24/11 906 92.39%
86 Thursday 8/25/11 917 93.48%
87 Friday 8/26/11 928 94.57%
88 Saturday 8/27/11 938 95.65%
89 Sunday 8/28/11 949 96.74%
90 Monday 8/29/11 960 97.83%
91 Tuesday 8/30/11 970 98.91%
92 Wednesday 8/31/11 981 100.00%

92 days. 1079 pages. 11 pages (+ notes)  a day. Totally manageable!

Get a copy (if all else fails, the Kindle version’s 10 bucks). We start tomorrow.

Brecht Evens’ THE WRONG PLACE

I’m hardly an impartial commenter, since I’m promoting a comic book by Brecht Evens coming out in March, but I thought Sean T Collins pulled some great insights from the man (and made some great observations himself) in their interview here for Robot 6 about his very impressive book THE WRONG PLACE.

Personally, after getting over the initial moment of visual confusion, I thought the book did a stellar job of making the real-life experience of city nightlife (gossip, dancing, dinner parties, one-night-stands) look as magical as it sometimes (rightly or wrongly) feels.

Simon Reynolds on fandom

I think I’ve met them all now. For me, there are no more heroes left. And no new ones coming along, by the look of it. It could be that this is a time marked by a dearth of characters, or that the smart people in rock aren’t interested in self-projection but in obliterating noise. But really, I think, it’s the case that, in this job, you don’t have the time to develop obsessions, what with the insane turnover, and all the incentives to pluralism.

The heroes you have kind of linger on from a prior period when only a few records passed through your life, when you had time to get fixated, spend days living inside a record. It’s a real effort to click back to that frame of mind, which is bad because fanaticism is the true experience of pop – I think of the splendid devotion of all those bright girls who, as soon as they’ve got hold of the new Cure or New Order or Bunnymen record, immediately set to learning the lyrics by heart then spend days exhaustively interpreting the Tablets From On High, struggling to establish some fit between their experience and what is actually some drunken doggerel cobbled together in a studio off-moment.

Seriously, I approve. I approve the deadly seriousness, the piety, the need for something sacred in your life. However deluded.

It’s become a reflex for critics to castigate the readers for being partisan, for being sluggish and single-minded in their choices. We exhort you to disconnect, discard, and move on, acquire a certain agility as consumers. But maybe this ideal state of inconstancy we advocate only makes for fitter participants in capitalism. For the one thing that makes rock more than simply an industry, the one thing that transcends the commodity relation, is fidelity, the idea of a relationship. There are voices that you turn to as a friend, and you don’t just turn your back on your friends if they go off the rails. You hang around.

–Simon Reynolds, Melody Maker, March 12, 1988

ABA, DOJ, BBQ

Most of the “shop indie bookstores / fight the big box chains” rhetoric I’ve heard has been rooted in a vague all-purpose anti-corporate sentiment rather than concrete concerns. This recent letter from the American Bookseller Association to the US Department of Justice is useful in spelling things out:

Publishers sell these books to retailers at 45%-50% off the suggested list price. For example, a $35 book, such as Mr. King’s Under the Dome, costs a retailer $17.50 or more. News reports suggest that publishers are not offering special terms to these big box retailers, and that the retailers are, in fact, taking orders for these books at prices far below cost. (In the case of Mr. King’s book, these retailers are losing as much as $8.50 on each unit sold.) We believe that Amazon.com, Wal-Mart, and Target are using these predatory pricing practices to attempt to win control of the market for hardcover bestsellers.

It’s important to note that the book industry is unlike other retail sectors. Clothing, jewelry, appliances, and other commercial goods are typically sold at a net price, leaving the seller free to determine the retail price and the margin these products will earn. Because publishers print list prices indelibly on jacket covers, and because books are sold at a discount off that retail price, there is a ceiling on the amount of margin a book retailer can earn.

The suggested list price set by the publisher reflects manufacturing costs – acquisition, editing, marketing, printing, binding, shipping, etc. – which vary significantly from book to book. By selling each of these titles below the cost these retailers pay to the publishers, and at the same price as each other, and at the same price as all other titles in these pricing schemes, Amazon.com, Wal-Mart, and Target are devaluing the very concept of the book. Authors and publishers, and ultimately consumers, stand to lose a great deal if this practice continues and/or grows.

What’s so troubling in the current situation is that none of the companies involved are engaged primarily in the sale of books. They’re using our most important products– mega bestsellers, which, ironically, are the most expensive books for publishers to bring to market–as a loss leader to attract customers to buy other, more profitable merchandise. The entire book industry is in danger of becoming collateral damage in this war.

More at the link.

It’s a messy situation all around (from a publisher’s perspective, the chains are skimming off the “sure things” rather than supporting the whole line; from an indie store’s perspective, they’re hogging all the books that bring people in the door and making it impossible for small stores to use them; from Wal-Mart’s perspective, they’re just trying to get books to people as affordably as possible, and they only want to carry the items their customers are interested in), but it’s nice to hear facts rather than vague suspicion.

EDIT:
Techno-optimist Clay Shirky offers commentary, calling these “arguments that made some sense twenty years ago, but have long since stopped doing so.” Instead, he proposes that booksellers begin “treating the old side-effects” — i.e. the physical amenities that bookstores uniquely provide in addition to selling books — “as the new core value.”

First thoughts on Oscar Wao

Junot Díaz
The Brief Wondrous Life of Oscar Wao
Riverhead, 2007

I really enjoyed Díaz’s voice here — even beyond the geek references, his writing has a clever & confident conversational elegance — and the content was often absorbing, but I was disappointed to find that the parts didn’t add up to a whole.

Díaz introduces us to Oscar, then looks elsewhere, only to return occasionally — so that this Life of Oscar is missing its main character for at least half the book. Díaz also declines to allow Oscar to grow. Is he crippling his novel’s potential power, or boldly avoiding cliche? I can imagine some defenses here — to read it as a tragedy (it’s the pathos, stupid, not the character development), and place it in a context of stories like Jaime Hernandez’s Death of Speedy Ortiz (in which the titular climax is never shown, only hinted at, and the title character’s importance is shown only through his effect on friends and family). But I’m still left feeling unsatisfied.

The much-discussed geek references are thrilling to geek readers who have never encountered them in a Pulitzer-winning novel before, sort of like hearing characters swear on early South Park. On a few occasions they really add another dimension of meaning to a real-life scene, or conversely demonstrate the depth of feeling previously unnoticed in lines from a campy old Stan Lee script. I wish this happened more often; usually they’re more superficial. Obviously Oscar gets a lot out of his fandom, but I don’t think Díaz ever really explores what he’s getting or how that works.

The most successful characters are the women. It’s especially rewarding to move around in time and have the past deepen our understanding of the future. As we learn about the tortures that shaped each stubborn young woman into a haunted matriarch, we begin to love and forgive them.

A couple formal things threw me — is Yunior narrating the whole book? Why is one (and only one) chapter narrated in Lola’s voice (after a brief second-person introduction in italics)? How is the story enhanced by the revelation that we’re hearing all this from a guy who sort of knew some of the characters in college? If hearing Yunior say “I guess I could have handled that better, but in the end I didn’t, oh well” makes the book more realistic, but less satisfying, are we better off?

Díaz is a joy to read; I’d love to see him do non-fiction, especially arts criticism. He knows a lot about people, and books, and what they can do to each other. I really wish this one had come together for me.

the French for “grenade” is “grenade”

Michaela Colette Zacchilli’s recent entry on Rob Goodin’s awesome Covered blog has got me reminiscing about Mark Texeira.

(images below from Texeira’s own site; go visit him)

I’m showing my roots here: I came of age reading Marvel comics in the mid-90s, and one of my favorite mini-series was the unfortunately titled Sabretooth: Death Hunt, created in 1993 by Larry Hama and Mark Texeira. A lot of Marvel’s work during that period is absurdly inconsistent, but there’s some good stuff lurking in the mini-series (if only because the consistent creative team and clearly-defined parameters mean that you get a coherent artistic statement).

sabretooth_interior_0 sabretooth_interior_3

Texeira’s art here is like a bizarre hybrid of Frank Miller, Todd McFarlane, and Rob Liefeld — often pretty close to the filthy lumpy style of Sam Kieth (apparently they both worked on Marvel Comics Presents in ’90-91). Hama’s over-the-top script is matched by a ferocious energy on the part of Texeira, as befitting a Sabretooth story. I think the first issue has Sabretooth coming home to find his mansion overrun by ninjas (it happens), so he and his personal assistant have to shred and blast their way through a couple hundred ninjas before settling down to dinner or something.

sabretooth_interior_4 sabretooth_interior_5

Issue three had Wolverine in a suit. Who draws Wolverine in a suit?! I love it.

sabretooth_interior_9

The other reason I wanted to mention this is not Texeira exactly, but rather the cover:

sabretooth 1

It was the age of gimmicks, so the cardstock cover is die-cut to reveal a painting of the titular character (I have a MMPB airport thriller from 1995 that does the same thing). But the whole thing is actually kind of admirably restrained — would Marvel run something like this today? — and I especially want to appreciate the text layout in the sidebar to the left.

This sort of type-play is a very early-90s graphic design idea, made possible by the rise of desktop publishing software and digital typography. And in most cases it doesn’t age well, now that the novelty has worn off. But here it’s pretty restrained, keeping everything right-side-up and using only 2 or 3 font families. I remember seeing the same design used in a bunch of house ads for “Bloodties,” the X-Men/Avengers crossover from 1993. I’ll have to dig those out sometime: the story itself was forgettable, but those house ads (I’m remembering punch-out trading cads with pull-quotes from Nick Fury commenting on various characters) made the whole thing sound immensely important.

Hey, I was seven.

But I’m still fond of the design.

on Golden Ages

Eddie Campbell’s recent post on varying perspective includes a tangential reference to Alex Raymond and includes an example from Raymond’s short-lived collaboration with Dashiell Hammett, Agent X-9 (1934-35).

Check out this action sequence:

Raymond X-9 strip by Dashiell Hammett and Alex Raymond

Agent X-9 strip by Alex Raymond (June 8, 1934?)

Jack Kirby gets so much attention as an action innovator that I’ve been trained to think of pre-Kirby action comics as dry and lifeless. Marvel’s marketing efforts have a lot to do with this; Lee and Buscema in How to Draw Comics the Marvel Way (1978) spend many pages explicitly drawing attention to the ways in which the revolutionary “Marvel style” (created in the 1960s by Kirby) uses extreme angles to make each panel more exciting.

From How to Draw Comics the Marvel Way by Stan Lee and John Buscema. On the left, a conversation drawn as any comic book company might present it. On the right, the same conversation presented in the Mighty Marvel Manner!

From How to Draw Comics the Marvel Way by Stan Lee and John Buscema. On the left, a conversation drawn as any comic book company might present it. On the right, the same conversation presented in the Mighty Marvel Manner!

It’s interesting to see Raymond demonstrate here that it is possible to get a lot of energy and power out of a scene without upsetting the steady POV.

Like this gallery of Action Comics covers (of which Joe Shuster’s are my least favorite), it makes me wonder at all the hoopla regarding Batman and Superman when the real 1930s action was happening elsewhere.


Leigh Walton talks comics and maybe other arts. (RSS)
He also works for the very excellent publisher Top Shelf Productions (which does not necessarily endorse the views and opinions, etc, herein).

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Header by me. Contains an interpolation of the final panel from All-Star Superman #1 by Grant Morrison and Frank Quitely. Speaking of which.

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