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Suds in Your Eye, by Mary Lasswell

Cove rof Suds in Your Eye by Mary Lasswell

Suds in Your Eye is about as substantial as the head on a freshly-poured beer but a lot more fun.

Suds tells the story of three older women (and an older man referred to only as “the Old Timer”) who come together to scrape through some lean times during the Second World War. Mrs. Feely lives in a rickety old house known as “Noah’s Ark,” which sits in the middle of the junk yard left her by her husband. Her primary contribution since his passing has been to erect a fence of concrete and old beer cans, and she spends most of her days emptying more of the latter.

She soon invites Miss Tinkham, a piano teacher too poor to keep up with the inflationary rents of wartime San Diego, and Mrs. Rasmussen, another widow, who’s been reduced to squatting in her daughter’s apartment, to join her, and the rest of the book is about how the three pull together and overcome a series of hardships.

Mrs. Feely finds out that her lawyer has been pocketing her property tax payments for years and her house is about to be auctioned off by the county. After a fretful night, they spring into action. Mrs. Feely begins selling her junk to builders slapping together new housing; Miss Tinkham creates leis from the flowers around the house and sells them to sailors on liberty; Mrs. Rasmussen finds out where to get meat scraps and day-old bread and vegetables, out of which she fixes delicious-sounding meals. The three of them get jobs in a tuna-canning plant. And in between, they sing songs, make wisecracks, and drink beer.

Beer plays a prominent role in this book, which is one of its more refreshing aspects. Lasswell definitely believed that life took on a softer, gentler glow after a cold one or two. Every few pages one or other of the characters is walking into the house with a fresh case. The book is also sprinkled with illustrations by the wonderful George Price, who was a master at sketching slightly off-balance characters like the three old ladies in Suds.

Mary Lasswell was a Scots-Texan who started writing while waiting ashore for her first husband, an ensign in the U. S. Navy. The success of Suds led to a whole series about the travels and adventures of Mrs. Feely, Miss Tinkham, and Mrs. Rasmussen: High Time (1944); One on the House (1949); Wait for the Wagon (1951); Tooner Schooner (1953); and Let’s Go For Broke (1962). Lasswell continued to write stories about them, publishing a few in the AARP magazine in the 1970s and 1908s. She also published two cookbooks inspired by the many fine meals whipped up in the books: Mrs. Rasmussen’s Book of One-Arm Cookery (1946) and a reissue with more recipes, Mrs. Rasmussen’s Book of One-Arm Cookery with Second Helpings (1970). “One-arm cookery” means, of course, stirring the pot with one hand and a beer in the other.

Suds is a goofy but warm-hearted comedy of the sort that was very popular in the 1940s. Like Leo Rosten’s The Education of H*Y*M*A*N K*A*P*L*A*N and Betty McDonald’s The Egg and I, it’ll give you a few chuckles (even sixty years later) and leave you feeling good about mankind. There are worse ways to spend a couple of hours.


Suds in Your Eye, by Mary Lasswell
New York City: Houghton-Mifflin, 1942

Eight Recommendations from Sonesh Chainani

I’m always interested in getting suggestions from other readers, and when I do, it’s usually just a title or two. Sonesh Chainani, a closet English major in Miami, took a break from his busy schedule to provide a whopping eight-pack of his favorite neglected books. He gets an A+ in my book, because he came up with three titles that are wholly new to me. And I give myself a D- for letting my own busy schedule keep this post on hold for over a week.

Sonesh writes,

I now realize that the roots with obsession with neglected books goes back at least to college, where I wrote my thesis on Julio Cortazar’s 62: A Model Kit, which is mentioned on your site. (New Directions re-released it 2 months after I finished my thesis, but I had to buy an expensive copy from a used bookshop in England in order to read it and I was so fascinated and confused by it that I decided I should write my undergraduate thesis on it.) I remember my advisor telling me that Cortazar was well-respected but nobody read 62: A Model Kit, and I remember the feeling of excitement of opening the book and being hooked by the first paragraph and thinking I may have been one of only a very small group of English-speaking readers who had read this book, which was written, published, and then quietly disappeared.

So, without further ado, let’s leap into Sonesh’s list:

All Heads Turn When the Hunt GoesBy, by John Farris, which was published by Playboy Press in 1977.

I would describe it as a “Southern gothic voodoo sexual horror novel” and though pacing of the book lags in places, the writing creeps up on you. The book opens with a brilliant over-the-top setpiece at a posh formal military wedding at a Southern estate where the groom goes absolutely unhinged with his sabre and darkest Africa takes its revenge on the antebellum south. There is a crumbling church, virginal decapitations, incestuous hysteria — I don’t know what else to say about the opening to the book except that it stuck with me for a while. The rest of the book doesn’t quite live up to the opening but it’s pretty damn good.

Farris is a prolific but very underrated and neglected writer — he wrote the novel The Fury which I haven’t read, but which is the basis of a minor but still enjoyable Brian DePalma movie starring Kirk Douglas, Amy Irving and John Cassavetes. The movie (and I imagine the book) is a funny mixture of the clinical and the lunatic.

In Praise of Older Women, by Stephen Vizinczey

A beautiful book that only a European could have written. Despite the salacious title and deliberately misleading jacket copy, the book is actually both a beautifully constructed engaging first-person novel and an argument for the induction by young men of older (not old but older) women and against the championing of mutual virginity and teenage cluelessness and prudery when it comes to sex. A google search reveals that this book was also made into a movie but I know nothing abou it.

Truth and Lies in Literature: Essays and Reviews, by Stephen Vizinczey

Truth and Lies, which I couldn’t stop reading, although a bit dated as literary criticism, is written in crystalline clear prose. Vizinczey’s prose is beautiful and limpid in both the novel above and this book and his reading of Melville’s “Billy Budd” as disturbing, fraudulent, politically indefensible literature is interesting. (I never liked “Billy Budd” myself but for different reasons.) He champions slightly more neglected or rather unfashionable French classic authors (e.g. Stendhal, Balzac) over the Russians it seems, which is not a very contemporary view, although he is clearly fond of some of the Russians as well. He also has definite and controversial views on various authors (he thoroughly whips on Malraux in one essay and in another praises Mailer for The Armies of the Night).

In both books that I read Vizinczey has a gift for not being mean, condescending or glib, even when his subject matter is difficult — love (for women, for literature) infuses everything he writes and it’s refreshing and enlightening to read him.

Nine Hundred Grandmothers, by R.A. Lafferty

This is a strange and compelling short story collection. Comparisons have been made between Lafferty and Heinlein and Phillip Dick, but these “sci-fi” (I use that term loosely) short stories are really in a world of their own. They are very damn funny and strange — a bizarre combinations of jokes without punchlines and very disciplined writing. The quality of the stories varies but they are all worth reading. Neil Gaiman is a big fan of Lafferty and has said that he has been influenced by Lafferty, although I don’t think Gaiman’s writing is nearly as entertaining.

Dance of the Dwarfs, by Geoffrey Household

I got this book from a friend who knew how much I liked another neglected book with a title involving those who are vertically challenged — Walter de la Mare’s Memoirs of a Midget — and although I had low expectations, the book turned out to be fantastic. The main character is a courageous, stoic agricultural expert working out in remote Columbia near the jungles. Although the beginning of the book only hints at mystery, it quickly becomes a strange and captivating suspense novel that was actually quite terrifying (despite the hilarity of the title ). The book’s a slow burn and the view of remote South America through the perspective of a cerebral white man becoming slowly ensnared in its mysteries is a nice antidote to much of the mediocre Latin American fiction that passes for “magical realism” these days. Also, just for the record, I am 6 foot 2.

Lady Macbeth of Mtsensk, by Nikolai Leskov

This was a great little novella — truly deranged — despite the title, the main character is more Medea than Lady Macbeth. I’d like to read more of this Russian writer who I suspect is little read in the West.

A Melon for Ecstasy, by John Fortune and John Wells

Hilarious though inconsistent humorous epistolary novel about a quiet, repressed man who not only has a very serious physical hankering for trees but acts on it. This book was one-of-a-kind and I found myself laughing a lot out loud. The authors’ vocabularies are prodigious and well-used. I don’t really know what else to write about this book, except to note that the book opens with the following fictional Turkish proverb.

A woman for duty,
A boy for pleasure,
But a melon for ecstasy.
– Old Turkish proverb

A Short Rhetoric for Leaving the Family, by Peter Dimock

A lean, stylized novel in the form of a single letter from Jarlath Lanham to his nephew and the son of his father’s ex-lover. The narrator’s focus on the rules of ancient rhetoric actually ties in quite well to the subject of the book: the Vietnam war and what allowed it to happen and to continue happening. This is a strange and intense novel, well worth reading although it is not an easy read.

The Winners

I believe this was one of the first books put out by NYRB Classics. It’s a hilarious, disturbing novel that is part Kafka and part Groucho Marx, about a group of state lottery winners in Argentina who win passage on a mystery cruise ship for an unknown destination. What starts out with aimless gossip, intrigues and annoyance by the bored, confused passengers develops into something more sinister. Cortazar’s female characters are rich and well-developed, and although this is not my favorite book by him (that would have to go to his stories and 62), it is an exciting and brilliant first novel. This is a useful link to Cortazar’s bibliography and publishing history: www.subir.com/cortazar/.

Remember When We Had a Doorman?, by Josephine Lawrence

“Do you remember when we had a doorman?” is the stock question asked by the older tenants, whose occupancy dates back to the golden days when we had not only a doorman, but adequately uniformed elevator attendants and a handy man who could paint and repair, and even build simple furnishings such as bookcases. Above all, we remind each other in these nostalgic outbursts, we had a competent superintendent.

Cover of first U.S. edition of 'Remember When We Had a Doorman?'Remember When We Had a Doorman? is set in a Manhattan apartment building that’s seen better days. Most of its residents are retired or in their last working days, although there are enough young people to keep the gossip flourishing: “The elderly and retired, as the magazines (read mostly by the young) solemnly point out, have few resources and must depend for diversion upon–well, upon putting their wrinkled noses into other people’s business.”

One of the older women in the building is Holly Berry, Lawrence’s narrator. Holly makes a little money on the side as a dog walker, which keeps her in regular circulation throughout the halls and makes her an ideal observer for the many little dramas that play out over the 5-6 months covered in the novel. By the time she wrote Doorman, Lawrence had long since mastered the technical craft of fiction, and one of the more impressive aspects of this books is the size of the cast she manages–easily over 50 characters are introduced in the course of 170-some pages. Yet every one is provided with a certain amount of personality: Nicky, the lazy and incompetent new super; Mrs. Gilmore, for whom diet is the answer to all life’s problems; Aunt Sarah Turner, who arrives to put things to order when her niece’s husband proves a lush; Wilbur, the song-writing elevator man.

Lawrence was never considered a great writer, but the one thing critics consistently acknowledged over the course of 40-plus years she published novels was her feel for the real problems of working-class people. Years Are So Long (1934) was about the problem of housing for the elderly in the days before Social Security; If I Have Four Apples (1935) was about people struggling to keep up with installment plans–the 30s equivalent to credit cards. Even a lesser work like I Am In Urgent Need of Advice dealt with the confusions of a sexually-maturing teenager.

No one in Remember When We Had a Doorman?–with the possible exception of Oliver Locke, rumored to be one of the building’s owners, who holes up with mountains of old newspapers–is living on easy street. Those who work worry about making it when they retire; those who are retired worry about keeping up with rising grocery bills. And age is taking its toll:

It happened that this evening was the date of the semiannual “gala” evening of the bridge club to which I’ve belonged for more than thirty years. Time has effected changes. Where once we were eight couples, now we are eight widows. Once, the twice-a-year celebration meant dinner in one of the large restaurants and an evening at the theater; now, by common consent, we dine in a neighborhood restaurant and go to the movies, preferably one near at hand. But we do not, as Evie Keith says so firmly, accept the label of “senior citizens.” The trouble is, no one else we knows we reject it.

Remember When We Had a Doorman? was Josephine Lawrence’s 30th of 33 adult novels and somewhere around her 120th book if you include her many series of childrens’ books (“Brother and Sister,” “Betty Gordon,” “Elizabeth Ann,” etc.). Lawrence also wrote childrens’ and advice columns for the Newark Sunday Call for nearly 60 years and several drama series in the early years of radio. She started as a working woman back when that was still relatively rare and kept at it for longer than most of us will.

I found Remember When We Had a Doorman? remarkably fresh, entertaining, and grounded in unshakable common sense. It encourages me to seek out more of her work.

You can find out more about Lawrence’s life and books on Deidre Johnson ‘s comprehensive website devoted to childrens’ book series of the 19th and 20th century.


Remember When We Had a Doorman, by Josephine Lawrence
New York: Harcourt Brace Jovanovich, 1971

The Silver Dark, by Herbert Clyde Lewis

This book is a bit of a mystery. My copy, a 1959 Pyramid Books paperback, shows no prior publication history. There is a quote from Budd Schulberg (“A genuinely original and compelling novel”) on the cover, which is the sort of thing one might expect to be carried over from an original hard cover release–but this appears to be the first and only edition. And there is the fact that Herbert Clyde Lewis died from a heart attack in 1950, which makes this a posthumous first-time publication–something that’s also a little unusual in a cheap paperback.

However this came to be published, it did little to revive Lewis’ reputation. His three other novels–Gentleman Overboard, which I reviewed here a couple of months ago; Spring Offensive, an anti-war novel from 1940; and Season’s Greetings from 1941–were already long-forgotten by then. The Silver Dark soon disappeared, too. I could locate less than a handful of copies for sale on the Internet today and virtually no library has a copy.

Cover of first edition of 'The Silver Dark'It’s a real shame, for The Silver Dark is a memorable story told remarkably well by Lewis. Theodore Huber is a dwarf, living alone in a small Manhattan apartment, working as a bookkeeper, shuffling through the streets trying to avoid the looks of pity and disgust. The emptiness of his life rings in our ears:

He ate with automatic movement, spoon from plate to mouth and back to plate again. He had no chance for happiness. He was trapped. He was tired of living and unable to die. He was in a void; he was existing in a vacuum. Slowly, he got up and carried the half-empty dishes into the kitchen for Mrs. Asgood to wash in the morning. Time had stopped, as far as he was concerned. For the rest of his life he would feel the same way, think the same thoughts, do the same things every day and every night. He would go on like this. He would observe his fortieth birthday and his fiftieth birthday in this fashion, and then his hair would grow gray and his breath would come short, and one day, alone, he would die a natural death.

His only real interest is in the lives of the beautiful women and handsome men he sees in the streets and through apartment windows. Theodore is not a peeping Tom, but he is at least a glancing Tom. He fantasizes about the lives they live: “She worked in a department store, and now she was hurrying home to her man, who worked in a bank. He was waiting for her, and as soon as she came in they kissed each other. Theirs was not a passionate kiss; theirs was a friendly kiss. Everything they did was friendly, easy, companionable.”

One night, he goes up to the roof of his apartment building to look out at the city. He sees a man and woman in an apartment and watches as they begin to make love. Suddenly, he becomes aware that someone else is up there with him. He panics, but then a strange, misshapen woman sees him, screams and faints. He carries her to his apartment. She revives in a few moments and runs out into the hallway in fright.

He hears no more of this, but over the next few days he starts ruminating, turning the incident over and over. He convinces himself that this woman is his only chance, the one woman who might actually accept him. He tracks her to a neighboring apartment and learns her name–Jane Liste. He decides to write to her. It’s the kind of letter a novice stalker might write: “I have very few friends, in fact, I haven’t any, and you were the first person I talked to, outside of business hours, in a long time…. I’ve been thinking it would be good if we could see each other, because we hardly know one another and might have a lot to talk about.”

A reply arrives. It’s polite, a little friendly. But there’s a hitch. Jane left New York, where she’d been visiting an aunt, the day after the scene on the roof, and returned to Bakersfield, California. A few more letters are exchanged–still friendly, but no more. Theodore, however, manages to talk himself into a romantic whirlwind. He quits his job, put his few belongings in storage, and flies off to Bakersfield. (In Lewis’ world, by the way, there are direct flights from New York to Bakersfield.) He has decided that he and Jane must get married.

Jane, a hunchback who leads an even more isolated life, lets Theodore into her apartment, and an hour or two later, they head off to City Hall for a marriage license. It’s a mark of Lewis’ skill that he manages to make this implausible sequence of events believable. I think it’s due in part to the jarring contrasts he creates. On the one hand, everything going on in the world around these two people is mundane, muted. On the other, there are their emotional worlds, which are filled with bone-aching loneliness and wild dreams of idealized love. While other people go on about their lives, Jane and Theodore are so used to living in pain that it seems sensible to take each other’s hand and go leaping off a cliff into marriage.

It’s not an easy landing, though. One thing they have learned and internalized from decades of living in a world full of normal looking men and women: a deep, deep disgust for people who look like–well, they do. They both want to find not just companionship, but romantic, sexual love; what they feel at the sight of their naked bodies, though, is repulsion.

How Jane and Theodore get beyond these feelings and come to discover a genuine, mature love involves yet more implausible events, but to the very last page, Lewis does a remarkable job of pulling us along and leading us through their emotional transformations. The Silver Dark reminded me at times of McDonald Harris’ Mortal Leap, another book about making a radical life decision. Our rational mind keeps whispering, “This just doesn’t make sense,” and yet we keep turning the next page and reading on.

Coming across a book like The Silver Dark is what makes the pursuit of neglected books so enjoyable. I had essentially no information whatsoever about this book, aside from the fact that I had enjoyed Lewis’ first novel, Gentleman Overboard. I had no idea if this would be good or bad, interesting or tedious. So if it hooked me, it had to do so solely on its own merits, without the aid of reputation, reviews, or anyone’s word of mouth.

And it did. I finished The Silver Dark in three days of a working week, which is exceptional for me. I wouldn’t call it a great novel, but it is certainly a good one–original, unusual, and continuously interesting. It proves once again what treats lie in store for those who dare to dive deep into the stacks.


The Silver Dark, by Herbert Clyde Lewis
New York City: Pyramid Books, 1959

The Gang’s All Here, by Harvey Smith

I’m not sure what’s most remarkable about Harvey Smith’s The Gang’s All Here:Insignia of Nostalgia University--'From easy to ordinary'--from the title page of 'The Gang's All Here' the book itself or the fact that it was published by the Princeton University Press. Purportedly the “twenty-five year record of ‘the finest aggregation of men that ever spent four years together at Old Nostalgia'” as penned by the class secretary, “Tubby” Rankin, The Gang’s All Here manages to trash just about every ritual and myth of American college life in the first half of the 20th century.

Smith (Princeton, 1917), a classmate of F. Scott Fitzgerald, provides sketches of 60-some alumni from the 1917 class of Nostalgia University, a proud bastion of the White Anglo Saxon Protestant Male that could easily stand in for Harvard, Yale, or even Princeton itself. Virtually everyone in the book is Republican and Episcopalian. Only two Jews appear. Of one, Rankin/Smith notes, “Morrie left college after fraternity elections freshman year and has not been heard from since.” The other eventually becomes a noted surgeon and trustee of the university: “With his keen mind he must hard known from the first day he was in college that there was a line, invisible but as clearly defined as the equator, between Jew and gentile. Unlike Morrie Posner, however, he never showed resentment.”

As a work of art, The Gang’s All Here is handicapped by the narrow bounds of its subjects and Smith’s immaturity as a stylist, but it nonetheless manages to impress on multiple levels. First, Rankin/Smith experiments with a wide variety of forms to cover his cast: first, second, and third-person narratives; several comic short stories; a pompous letter written by the subject himself; even the transcript of the divorce proceedings of an over-ardent Nostalgia fan and his fed-up wife. Second, for all the successful bankers, brokers, and CEOs in the class, there are also lunks, lushes, lounge lizards, and flat-out losers. One man marries a lady wrestler; another quits Wall Street and makes a new start as the proud owner of a gas station; a third quietly thanks “that man” Roosevelt for the W.P.A. job that restored his dignity. And Rankin is not reluctant to peel back the veneer of respectability to note that Jim Denison didn’t did in a sailing accident back in 1937, but took his life in despair at his wife’s affair with that “heel” Bud Coleman.

The most admired member of the class–at least in Rankin’s eyes–is Adelbert l’Hommedieu X. Hormone, or Bert for short. Kicked out of school after three months, he lives out his classmates’ secret dreams: shanghaied into the French Foreign Legion, crewing a Dutch freighter around the Great Horn, running a bar in Java, and settling down in married bliss with a native pearl diver in Tahiti. He sends his regrets at missing the 25th annual reunion in a 1,000-word collect telegram, citing the demands of his new trained-shark business.

Published in 1941, The Gang’s All Here portrays a way of life that was already becoming a thing of the past. Even then, one alumni notes sadly, the administrators of old Nostalgia were expecting prospective athletic stars to pass a rudimentary entrance exam rather than accepting them as the “blessings” they were. An advertising executive in New York, Smith was well-qualified to take on his subject, having penned the 1917 class notes in the Princeton Alumni Weekly since 1927. While not the master his classmate Fitzgerald was, he deserves a special footnote in histories of Princeton for having pulled off something much more substantial and imaginative than a simple satire of his own kind.

The Snowman, by Charles Haldeman

For the first fifty-or-so pages of The Snowman, I thought I’d really found a long lost–heck, a never-discovered–gem. I picked up the Penguin paperback edition at a bookstore in Seattle, attracted by several promising clues. The Penguin edition came out four years after the initial hardback release; despite the fact that the novel was written by an American and is set in America, it appeared to have been published only in the U. K.. The blurb on the back read cryptic enough to suggest something worth investigating:

The Snowman is often infuriating, always compelling, a blinding collage of cross-threads, dead-ends, endless tunnels, red herrings and bang-on target salvos of smouldering reality.

Cover of Penguin U.K. paperback edition of 'The Snowman'
And at first, the work itself seemed a wonderfully bizarre treat. The first chapter ones with an entry from The Motorist’s Guide to Upstate New York, 1939: “Joseph’s Landing (232 alt. 729 pop.) 1.6 miles from State 3, is a peaceful lakeside village of wided, shaded streets and roomy old dwellings first settled in 1802.”

Over the next few chapters, Charles Haldeman introduces us to Joseph’s Landing and some of its inhabitants, past and present. It is, to say the least, an unusual place. There is something odd about everyone in the place. Here, for example, is a bit of town history:

Donatien’s death left Melba and Claude Hagen swamped in the peaked and parapeted four-story sandstone monstrosity at the acute intersection of Joan of Arc and Pierre de l’Hôpital Streets. Even when the ground floor had been overflowing with patients and Melba was holding a D.A.R. convention upstairs, the house had still seemed empty, it was so huge. Its original designer and builder, General Gilbert Raye, had obviously suffered from daedalomania. But that wasn’t all he’d suffered from: in 1819, not five years after the last stone was set in his labyrinth, he and a down-eastern prelate were arrested for conducting experiments of an unspeakable nature and sentenced to be hung by the neck until dead and then burnt. Donatien’s great-grandfather Count Joseph de Villiers, a pseudonymous self-made noble who had absconded with the Spanish crown jewels afer the Battle of Waterloo and come to America with grandiose plans for establishing a new French Empire in the North, recognized in the condemned general a kindred spirit and paid him several visits in his cell. On the eve of his execution the wretched man gratefully bequeathed his eyesore to his friend.

This combination of the baroquely bizarre (“daedelomania”; “experiments of an unspeakable nature”) and the down-to-earth (“eyesore”) reminded me in a powerful way of one of the first books I featured on this site, John Howard Spyker’s Little Lives. I could imagine Joseph’s Landing sitting in the heart of Spyker’s Washington County. I even began to wonder if Charles Haldeman was yet another Richard Elman’s pseudonyms.

Unfortunately, the promise is unfulfilled. We move from these lovely odd vignettes into a series of chapters focusing on one and then another resident, most of them leading nowhere and weaving threads never again picked up in the narrative. Penguin’s blurb above is not intriguing praise. It’s a literal description. Haldeman seems to have been unable to decide just what he was writing. In the end, he settles upon a story of misfits and outcasts finding a kind of peace among themselves–the material of a Flannery O’Connor story, but not the end product.

His first novel, The Sun’s Attendant, published just a year or so before The Snowman, apparently suffered from similar problems. One reviewer praised its “Joycean” language but found it an artistic failure. Haldeman told the story of a child survivor of Auschwitz through a variety of textual artefacts but in the eyes of most critics at the time, didn’t manage to bring these pieces together into an effective whole–and he certainly didn’t manage to get past this stage with The Snowman.


The Snowman, by Charles Haldeman
London: Jonathan Cape, 1964

Perdita, Get Lost, by Alan R. Jackson

There are few good reasons to read a 45 year-old light comedy. Like an opened bottle champagne, light comedy doesn’t keep well. Plot and characterization are usually paper-thin to start with. Moods and manners are much of the age in which the book is written and lose most of their meaning within a few years. One character in this book says to another, “I half expected you to begin banging your shoe on the desk.” How many readers would get that reference today?

Cover of U.S. paperback edition of 'Perdita, Get Lost'I picked up Perdita, Get Lost in the basement of the Montana Valley Book Store in little Alberton, Montana–one of the dwindling number of bookstores where you can plunge into stacks of books from more than a decade or two ago. I probably bought it as much for the fact that it’s a small gold-backed Pocket Book Cardinal Edition, which is up there with the little squarish Dell paperbacks from the early 1960s and the Yale Chronicles of Americas series among my favorite book formats.

The story, about a spunky young woman named Perdita Chandler (Chan for short) and Jerry Blake, the bachelor millionaire who’s sort of her uncle–but not–is about as well constructed as my first balsa wood airplane model. Key moments turn on such creaky pivots as the fact that Blake’s cat is also named Chan and the unexpected gift and theft of a rather ugly classical Greek statue. Even the construct of the millionaire relative with nothing but time on his hands could be something from a B-movie society comedy of the 1930s. As for the context–well, multiple martinis are downed in an average afternoon and all the young women are expected to be dreaming of a big suburban home in Westchester County complete with three kids and a collie. I kept expecting J. Pierrepont Finch to pop up.

So no, Perdita, Get Lost is no timeless classic. The only thing going for it–which is about all any light comedy with legs can claim–is the writer’s style. In Alan R. Jackson’s case, he comes off quite the clever fellow, far more in the know about his characters than they could ever hope to be about themselves. But at least he manages a light touch through most of the book. Here, for example, he dissects a conversational misstep:

“If we had a golden eagle in this apartment, we would all have hay fever. They’re full of pollen. I know!

She had committed a social gaffe, which in English is known as a boner and in German undoubtedly by a polysyllabic portmanteau word that only another German would understand.

Her boner was to make a simple, positive, declarative statement.

This stops conversation.

A social gathering, such as Carla had gathered for whatever devious reasons, is like a saraband. There are certain movements, which must be countered by others. Conversation must flow like the waters of the Villa d-Este. A positive statement (like Carla’s “I know”) stops it.

Even had there been present an expert on golden eagles and their pollination (and there was none), he would have hesitated to dispute his assured hostess. So the “I know,” although strictly out of the blue (where the golden eagles live) brought everything to a full stop.

Jackson wrote another novel, East 57th Street, a year or so before Perdita. From the title alone, I suspect it’s also a light comedy of life in early sixties Manhattan. I’ve no idea what became of him after publishing Perdita. While he’s no Wodehouse, he’s certainly of that ilk, if of a different continent and different decade, and I’ll probably give East 57th Street a try one of these days. Marshmallows do have an occasional place in a well-rounded diet.


Perdita, Get Lost, by Alan R. Jackson
New York: Simon and Schuster, 1964

Barnes & Noble launches “Rediscovers” series devoted to out-of-print worthies

Source: “Barnes & Noble Launches Out-of-Print Imprint,” Publisher’s Weekly, 19 August 2009

Barnes & Noble, one of the U.S.’s largest booksellers, combining online and “brick and mortar” outlets, launched a new series devoted to the reissue of neglected books this month. As described on the B&N website:

Barnes & Noble Rediscovers brings back to print — in affordable hardcover editions — books of special merit in history, literature, philosophy, religion, the arts, and science. Many have been long unavailable or hard to find. Each is now reset in a modern design to welcome a new generation of readers.

The Rediscovers initiative is something of an extension to the Barnes & Noble Classics, which includes 200 well-recognized classics such as The Adventures of Huckleberry Finn and David Copperfield in low-cost paperbacks with new introductions by contemporary writers and critics. However, unlike the Classics, the Rediscovers list is intended to be shaped directly by reader/buyer feedback: “The retailer will include customer feedback and online customer behavioral data as criteria for selecting books to publish through Rediscovers,” according to Retailer Daily.

The B&N Rediscovers series was launched with healthy kick, with 33 titles included in the first release. I am frankly impressed by how diverse and esoteric this list is. Here is a sample of what’s now available:

Darwin’s Century: Evolution and the Men Who Discovered It, by Loren Eiseley

A study of Charles Darwin’s work and ideas within the intellectual context of Victorian England. More a scholarly than a lyrical work, written–as one Amazon reviewer put it–“while Eiseley was wearing his Professor hat instead of his Philosopher cap.”

Cover of Barnes and Noble Rediscovers reissue of 'The History in English Words'

The History in English Words, by Owen Barfield

One of the books I included on my “Editor’s Choices” list when I first started this site, this is certainly the most approachable of Barfield’s books–but it has the same capacity to shake up your world perspective. Essentially a survey of how the etymology of individual and groups of English words can reveal not just where they came from, but the dramatic differences in how the world was seen and understood in other times.

Maimonides, by Abraham Joshua Heschel

From the B&N site: “Originally published in German in 1935—the 800th anniversary of its subject’s birth—Maimonides was Abraham Joshua Heschel’s first important work. In it, the author combines an account of the life of this most influential of Talmudic scholars and most celebrated of medieval Jewish philosophers with a subtle introduction to his writings and their place in the broader tradition of Jewish thought.”

Physics for the Rest of Us: Ten Basic Ideas of 20th Century Physics, by Roger S. Jones

The youngster on this list, dating only from 1993. Jones’ objective was, “To combine a conceptual approach to modern physics with an exploration of its deeper meaning and philosophical significance.” Thus, this book is not only a clear, well-written explanation of ten concepts of physics developed in the 20th century, but a reflection on the benefits and limitations of science itself.

Three Philosophical Poets: Lucretius, Dante, Goethe, by George Santayana

Drawn from one of his Harvard courses, which could claim T. S. Eliot, Wallace Stevens, and Conrad Aiken among its students, this book is the text of a series of lectures Santayana gave at Columbia University in 1910. At it’s also a pretty good demonstration of just how strong Barnes & Noble’s faith in the “if you reissue it, they will come” theory is. This is one of those titles that university presses usually trickle out in a few dozen copies a year over the course of a few decades–as it the even more intimidating Philosophical Sketches: A Study of the Human Mind in Relation to Feeling, Explored through Art, Language, and Symbol, by Suzanne Langer. Courage et bon chance, mes amis!

Alpha and Omega: Stories by Isaac Rosenfeld

Rosenfeld has been something of an insider’s legend for decades. After publishing a well-received coming-of-age novel, Passage from Home, in 1946, he wrote some fine stories and influential reviews, labored at some unpublished novels, and eventually faded into complete obscurity. Coming on top of the release earlier this year of Steven J. Zipperstein’s fine biography, Rosenfeld’s Lives: Fame, Oblivion, and the Furies of Writing, Alpha and Omega should help revive interest in this classic neglected writer–although I suspect D. G. Myers got it right when he wrote in review of Zipperstein’s bio:

Rosenfeld’s name remains alive for two reasons. First, because he impressed, with his personality and literary promise, the reputation makers of his generation—Philip Rahv, Irving Howe, Alfred Kazin, Eliot Cohen (the founding editor of Commentary). He was embraced as the “golden boy” of the New York intellectuals, and then died far too early to fulfill their dreams for him. As Theodore Solotaroff recalled, some of his friends spoke the name Isaac as if it were “a magic word for joy and wit,” others as if “it were the most poignant word in the language.” Second, he was Saul Bellow’s best friend.

Bellow wrote the introduction to Alpha and Omega.

Cover of Barnes and Noble Rediscovers reissue of 'Really the Blues'

Really the Blues, by Mezz Mezzrow and Bernard Wolfe

Mezz Mezzrow was a clarinet-playing Jewish kid from Chicago who got into jazz back in the mid-1920s and played and hung out with most of the greats from that era–Armstrong, Beiderbecke, Jelly Roll Morton. Unfortunately, his love of jazz was outmatched by his love of reefers. “Mezz” came to be slang for marijuana due to his own use, rather than vice-versa. As a musician, he was no great beans. But teamed up with the young and verbally-inventive Bernard Wolfe, he managed to put together a 400-page swim through more jazz lingo and life that you’ll find between any other two covers. Albert Goldman once wrote of the book and its subject, “Mezzrow was 1) the first white Negro, 2) the Johnny Apleseed of weed, 3) the author of a great American autobiography, Really the Blues, the finest eyewitness account of American counterculture ever published. The book is, likewise, the master-piece of the counterculture’s most characteristics literary medium: the slang-laced, jazz-enrhythmed, long-breathed and rhapsodic street rap and rave-up.” So pick up your shovel and dig it, man!

ABBA ABBA, by Anthony Burgess

One of Burgess’ shortest novels, ABBA ABBA–whose title refers to the sonnet rhyme pattern–is a lively hodgepodge of historical fiction, literary criticism, original translations (and transformations) of poems of Giovanni Belli, and an excuse for Burgess to blow fine verbal riffs on the theme of writing and translation.

On Moral Fiction, by John Gardner

Recently recommended by Maura Kelly on this site, On Moral Fiction was one of the more controversial books of 1978–and one of the best-selling works of literary criticism as a result. Gardner challenged modernism and the pursuit of literary invention for its own sake, advocating a return to the traditons of Dickens and Tolstoy.

Marcus Leaver, president of B&N’s publishing subsidiary, Sterling Publishing, suggests the initiative has much grander ambitions than the somewhat esoteric list of initial titles would indicate:

The Barnes & Noble Rediscovers series opens a new door for us and a new window for writers and estates who have earned no income on their works for years. We plan to expand the capabilities of the program to include both e-book and print on demand options.

This sounds as if Barnes & Nobles is taking a lesson from the Faber Finds venture, which has managed to push out over 400 titles in little over a year, thanks to diligent copywrite research and the magic of publish-on-demand. Both of which put the recently-announced AmazonEncore program (with a whopping one title, from 2006, to its credit).

Thanks to Robert Nedelkoff for passing this news along.

Robert Birnbaum Picks Some Recent Under-Appreciated Novels

Source: “Under-Appreciated Novels,” http://birnbaum.themorningnews.org/2009/08/11/under-appreciated-novels.php, 11 August 2009

Robert Birnbaum, The Morning News’ book blogger, recently decided to engage in some of “the anguished hand-wringing that accompanies intoning the cruelty and myopia of the rest of the barbarous world in failing to recognize the brilliance of that which we (meaning I) deem to be genius.” His list of works deserving more recognition and respect than they’ve earned so far has only one unifying criterion: “[T]hey were all read in this century.”

Birnbaum’s list leans heavily to products of this century, too: Don Winslow’s rich novel of drugs and crime, The Power of the Dog, from 2005; Tim Gautreaux’s bayou novel, The Clearing from 2003; Joseph O’Connor’s multi-faceted story of the post-Civil War West, Redemption Falls, from 2007.

But a few fall to the far side of the bell curve: Philip Kerr’s futuristic A Philosophical Investigation dates from 1993, and The Criminalist, the last work published by Eugene Izzi, a Chicago crime novelist, before his suicide, from 1999.

For me, the most intriguing item on the list is Michael Doane’s 1994 novel, Bullet Heart. Chris Goodrich of the L. A. Times had some pretty enthusiastic things to say when the book first came out:

Truth is better captured by fiction, we’re often told, than by purely factual accounts; tied not to external events but to feelings and impressions and ineluctable human character, fiction supposedly brings to life what nonfiction paints by number. Well, here’s one case where the analogy actually works, for in Bullet Heart, Michael Doane Cover of first U.S. edition of 'Bullet Heart'tells the story of a confrontation between whites and Native Americans to which neither journalism nor scholarship could possibly do justice. The novel takes place in South Dakota in the 1970s, when local developers start the short-lived Bones War while building a golf course on an ancient burial ground. The American Indian Movement is at its height, government authorities feel under constant siege, the U.S. appears on the verge of living up to its ideals or of falling flat on its face; Michael Doane uses this real-life civil strife to illuminate the individual troubles, and principles, such rebelliousness brings to the fore…. Bullet Heart, Doane’s fifth novel, may be too thoughtful and too well-written to make headlines, but in its own quiet way it’s a literary milestone.

A couple of Doane’s books are still in print–sort of. In the Path of the Whirlwind is print but “out of stock’. His 1990 novel, Six Miles To Roadside Business is available now–until Amazon sells the one copy they have left. Several of Doane’s works, including Bullet Heart, Six Miles, and The Surprise of Burning garnered 5-star reviews from Amazon readers, so there’s got to be something there worth a look.

Isabel Paterson on “If It Prove Fair Weather”, from September 1939

Cover of the 7 September 1940 issue of 'The Saturday Review'Thumbing through issues of The Saturday Review while in the U.S. this summer, I came across an interesting item. A review by George Dangerfield of Isabel Paterson’s last novel, If It Prove Fair Weather, which I featured here a few months ago, was juxtapositioned with a piece about the book by Paterson herself: “As the Author Sees It.”

In my continuing interest in advancing the cause of Paterson’s fiction, I’m taking the liberty of ignoring whatever copyright may or may not still apply and reprint the piece here in its entirety:

What this country needs is a good stiff course in ethics and moral theology. Why I think so is because I have written a novel–If It Prove Fair Weather. To understand the question fully you might have to read the book; but that does not worry me. The main point is, those who have done so, with advance copies, are almost unanimously severe on the man in the story (his name is Wishart). It is a love story. Especially the men readers seem to feel–well, I don’t know what. He makes them mad. There is an unmistakable implication that they would have behaved far otherwise, in his position.

Portrait of Isabel Paterson from 1939Possibly so; and it may be my fault that they don’t seem to notice there was no way for him to behave well. He had only a choice of behaving badly in different ways. What I mean is that like is like that. Many of the most admired moral examples really will not stand close and logical examination. It is so in the nature of things. Human beings are inevitably in an appalling predicament between their emotions and their obligations; the two elements are not even conveniently distinct, but inextricably snarled in a cat’s-cradle. And the more you try to untable it the worse it becomes.

I admit, of course, that Wishart is not wholly admirable. He is a man. He is an upright citizen, with a business and a family; and he becomes interested in a woman not his wife. This is ethically reprehensible, if you allow any ethical standards whatever. I speak seriously. What is more, you’ve got to have ethics. (At present, some countries are saying that you don’t have to, but the results are not entirely satisfactory). Then ethics apparently tell you that you must, if necessary, be completely insensible, incapable of being interested or of wanting personal satisfactions. That is a very hard saying, surely. Shade it a bit, and say rather that it is your duty to repress and restrain such feelings if they go beyond the boundaries of previously established obligation. That sounds very lofty; but it may still be at the expense of another person, or even two other persons. It is not so nice to be the recipient of duty either.

This is extremely obvious, and twenty years ago was thought to be a complete answer. It was then affirmed to be a higher duty to discard the inconvenient obligations and go ahead on the new path. Now one may see what comes of that. A trail of wreckage. It doesn’t work even as well as sticking to the old line.

But let us imagine duty as the constant lodestar from the beginning. All of us have favorite characters; one of mine is Sir Thomas More. He took and held a straight course. Deeply religious, with a strong intellect and character, and scholarly tastes, as a young man he thought of entering a monastic order. But as he was also robust and of an affectionate nature, he feared he had not the authentic vocation, and decided it was better to be a good layman than a sinful cleric. So he married and was a faithful and kind husband and father, all his days.

Cover of first U.S. edition of 'If It Prove Fair Weather'He married twice. The first time, he was undecided between two sisters. His personal preference was for the younger and prettier of the two; one may assume he was in love with her. But out of sheer altruism, he felt it would be invidious to leave the elder and plainer sister slighted. So he married the elder. It is not known whether the younger was in love with him. She might have been. He was a man of charm, wit, and general attractiveness. And if the younger girl was in love with him, I can’t make up my mind–I am very fond of him–which of the two girls had the best right to murder him on the spot. Both of them, in my opinion, had every right to do so. He had injured the girl he loved and insulted the one he married.

Nobody but me has ever noticed that, so far as I know. He is always held up as a model of masculine virtue. I guess he was. That’s what I’m talking about…. In later life, he became a widower, and married again, a woman he didn’t like much, to be a mother to his orphaned children. She should have killed him too, if she cared for him. Otherwise, I suppose it was all right. He was one of the best men that ever lived, so he only needed to be murdered three times by justly infuriated females, if he had got his desserts. He is highly praised by men. Though of course a less worthy man would have married the pretty sister, and then maybe fallen for a more attractive woman later.

Women are annoyed at Wishart. They have reason. Still, women also might examine the premises. That masculine line, “loved I not honor more,” has always filled women with silent rage. Because they can’t answer it. A woman friend of mine says that, reading the book, she hated every hair of Wishart’s head. She ought to. She is married to a delightful and honorable man, a sea-captain. I can’t think what she would answer if compelled to decide whether her husband, in the course of his vocation, ought to go down on the bridge as the rules prescribe, and never mind about her; or should he leap into the first lifeboat and save himself for her sweet sake. The fact is, in such contingency, when a woman might have to think whether her husband must put his duty or herself first, she really believes he ought to do both, and could if he put his mind to it. That’s where there is no other woman in question at all. In case another woman deflects his thoughts from her, she isn’t going to debate the matter for a moment. She will merely scalp him and boil him in oil, and see how he likes it.

[Published in The Saturday Review, September 7, 1940.–Ed.]

Now, if that isn’t one of the most astute and amusing things ever written on the subject of men and women, I’ll eat my hat. The world is long overdue for a Portable Isabel Paterson with a collection of her Herald Tribune columns, Never Ask the End, and excerpts from The Golden Vanity and Fair Weather. Her libertarian tracts can fend for themselves.

Bruce Allen recommends the work of Francois Mauriac

Cover of 'A Mauriac Reader'Bruce Allen wrote recently to recommend the novels of François Mauriac:

I wonder how many readers remember François Mauriac (1885-1970), whose best novels (e.g., Thérèse Desqueyroux, Vipers’ Tangle, Woman of the Pharisees, A Kiss for the Leper, and at least a half dozen others) began appearing in English translations during the 1960os.

An un-apologetic Catholic apologist, Mauriac has always been marginalized as a writer of narrow sympathes and range. But at his best he’s an eloquent composer of stark tragedies of ancestral and faith-driven conflicts framed as allegories of sin, redemption, and retribution – often complicated by the unruly realities of sex and greed. No novelist ever understood, and engaged the seven deadly sins (and all the other un-numbered ones) as well as Mauriac. He ought to be revived every generation or so, and readers who’ve never sampled the brimstone pungency of his best work have missed out on one of the great 20th century bodies of work.

François MauriacFortunately for would-be readers, a good deal of Mauriac’s work is in print and easily available for purchase online. All of the above books are in print, as are several less-known works: The Frontenacs, The Mask of Innocence, and Young Man in Chains. Actually, A Kiss for the Leper is in print by virtue of its inclusion in A Mauriac Reader, which collects it and four other novels under one cover, with an introduction by Wallace Fowlie. Farrar, Straus and Giroux have heroically kept it in print for over forty years now.

Mauriac is often compared with Graham Greene: both Catholics, both dedicated to writing about modern and his struggle with sin. “I have tried to make the Catholic universe of evil palpable, tangible, odorous. If theologians provided an abstract idea of the sinner, I gave him flesh and blood,” Mauriac once remarked. Asked about the comparison, however, Greene drew a fine distinction between their works: “Mauriac’s sinners sin against God wheareas mine, however hard they try, can never quite manage to.” Mauriac also won, in 1952, the Nobel Prize for Literature, an honor that eluded Greene.

The Seventh Gate, by Peter Greave

Cover of Penguin edition of The Seventh Gate by Peter Greave

As recounted in his 1976 memoir, The Seventh Gate, Peter Greave’s life up to his mid-thirties was one no reader could envy. Born in Calcutta in 1910, he enjoyed a few years of privileged childhood as his father climbed the ladder of business success with an English merchant trading firm in India.

But by the time he was about to start school, he found himself on a tramp steamer on a slow and trouble-filled voyage to New York City as his father took the family off in search of a fresh start. His father, as Greave later learned, had run through a string of failed business schemes, insulted or stolen from much of proper society in Calcutta, and been bankrupted and politely asked to leave the country. He had also, as Greave only came to understand slowly and obliquely, been on the verge of being jailed as a chronic exhibitionist.

With utterly no connections in America, Greave’s father still manages to persuade another English firm to bankroll him in a venture to sell a now-forgotten car, the Dixie Flyer, in South Africa. His tiny stipend forces Greave’s mother to find ever-worse lodgings in ever-rougher parts of New York City. His days were spent avoiding, battling with, or being chased by gangs of young boys “engaged in continuous warfare.” At one point, she fell ill and the boys were taken into the city’s foster care system, spending weeks in a bleak orphanage stuck in the midst of a grey forest. His mother prayed for her husband to return and rescue them.

Instead, he returned accused of having blown through $600,000 in South Africa, and antagonized the Afrikaaners, and run off to the Congo with a black mistress in search of a lost mine. So he took his family off again, back to India on another cheap passage. Greave and his brother were enrolled in a threadbare boarding school where a schoolmaster straight from Dickens loved to beat morality and Catholic virtues into the boys.

Used to running wild in the streets of New York, Greave found the school intolerable and engineered an escape. Smuggling himself onto trains and ferries, hiding from the police, stealing food and finding unexpected support from an occasional Indian, he made his way from the Punjab to the far reaches of Assam. There, he enjoys some months of refuge, peace, and unsupervised play in the jungle from a friendly American couple he had met on ship.

The rest of Greave’s childhood was spattered with brief family reunions, more troubles due to his father’s grifts and sexual addiction, and a variety of poor excuses for schooling. With such an upbringing, it’s not surprising that his own experiences as a young man involve hopping from one job to another, great bouts of drinking, gambling, and whoring, and barely managing to exist on the fringes of Anglo-Indian society.

Then, sometime in his late twenties, he noticed a spot on his face. It stayed for weeks, growing slowly, and then was joined by similar spots on his legs and buttocks. He finally heads to the public hospital in Calcutta, where an Indian doctor calmly informs him that he is suffering from leprosy.

Over the next seven years, Greave spent much of his time holed up in a tiny, squalid room in a boarding house. One eye was blinded by the disease, the other nearly so. Only the tenderness of his lover, a beautiful but wayward Anglo-Indian girl rejected by both races, and an incredible forbearance and patience on Greave’s part, got him through. Finally, in 1946, a letter came to him out of the blue with an offer to take for him for free in a special clinic back in England. Greave tracked down his father–still concocting schemes in India–and begged enough money to pay for his passage. Scraping through the medical inspection, he got on board and set sail, never to return to India.

This is a pretty grim story. I suspect few reading my synopsis would imagine The Seventh Gate as anything but a study in black and more black.

Yet Greave (who died in 1977) seems to have possessed a spirit made of pure stainless steel. In the most degraded and dehumanizing situations, he managed–at least in reflection–to have been able to latch onto the tiniest bits of sunlight. Yes, he was trapped in some god awful boarding school run by a sadist–but he could always escape for a few moments:

Pacing endlessly across the wet, deserted playing field, I forgot the shoddy classrooms and the soaring, aloof grandeur of the Himalayas, and returned to those happy months when I had been free to wander beside the waters of Bombay harbour. Soaked in dazzling sunlight, the smell of the sea in my nostrils, I saw again the white sails of the dhows as the wind carried them towards Africa, and mingled happily with the cosmopolitan crowds that drifted beside the waterfront.

The cover of the Penguin paperback edition of The Seventh Gate shows a bright orange sun shining across some Indian river, and despite the many hardships Greave recounts, this is one of the sunniest books I’ve ever read. It may be that in having had so little, having been able to take so little for granted during his childhood, Greave simply developed an extraordinary capacity for acceptance and finding life and humor in the most dismal situations.

It’s also a book rich in description, with remarkable scenes, such as the one where Greave stumbles across a pack of vultures in the middle of the night as he escapes from school. I found it a little like David Copperfield, where you keep turning the pages wondering what worse trouble the young hero was going to face in the next chapter. I zipped through it in the course of a single flight back from the U.S..

Although Greave was cured of leprosy once safe in the English clinic, the disease permanently weakened him and his blindness eventually became complete. Despite this, he managed to write, starting with his 1955 memoir of his cure, The Second Miracle. He wrote several plays and novels and appeared as a monologist on BBC television and radio. He lived in the clinic where he was treated, the Homes of St. Giles, until his death.

A thoroughly rewarding reading experience. Let’s hope John Seaton at Faber Finds adds this to his list.



The Seventh Gate, by Peter Greave
London: Maurice Temple Smith, Ltd., 1976

Flamingo, by Mary Borden

Cover of first U.S. edition of 'Flamingo'Flamingo is a spectacular failure. I kept thinking as I read of the time I saw a Titan III rocket blow up less than a thousand feet off the launchpad. No one would call that a success–but it sure was spectacular, awesome in its size and power, hitting us with a tremendous roar and shock wave seconds after we saw the explosion. Millions of dollars and the work of thousands was scattered in bits over the southern slopes of Vandenberg Air Force Base. A considerable effort lay behind that failure.

I’m not clear exactly what Mary Borden was aiming at, but it certainly was high. The two novels that come to mind when looking for something to compare Flamingo to are The Bonfire of the Vanities and Ayn Rand’s The Fountainhead–and no one could argue that either one of them lacked for ambition. Flamingo is about the Old World colliding with the New World, about politics and money and art and power, about love, lust, jealousy, and ambition, and about Jazz Age New York City, with all its frenzy, noise, music, low lifes and skyscrapers. It has the potential to be a candidate for the Great American Novel.

Borden’s ambition led her to draft London and New York as characters:

London and New York had been talking all that summer. They had been trying to understand each other, but with very moderate success. They saw things differently, or perhaps New York didn’t try very hard to understand that old woman across the Atlantic, that old fogey.

Take a god-like view of things when she feels like it:

But, of course, in the star swarm that was traveling the heavens, this spinning of the earth through day and night was too rapid to be visible. An eye watching the stars splutter, fizzle, and go cold could not count the rotations of that little top. As for the building activity in New York, that would be less noticeable than the appearance of a slight feverish roughness, a tiny wart, on the side of the earth’s face.

Speak as the voice of fashion:

The Radio Building, Brown, Johnson & Campbell, Associated Architects, was the very latest thing in skyscrapers a year ago. It isn’t now. While I write, other buildings are going up that will put it in the shade, and there is a rumor that a rival firm is going to build just behind it a building that will make it look quite insignificant.

And even make her bold enough to admit her weaknesses to the reader:

From now on this story becomes very confused. It is going to be very difficult to keep track of these people once the Aquitania is tied up to the Cunard pier in the North River. It is going to be like a game of hide and seek, a sort of treasure hunt on switchbacks, in a crowd, in the dark, that jangles and jiggles, in a great confusion of noises, and it will be impossible to keep my eye on the clock and tell a straight narrative of how one thing happened after another.

To Borden’s credit, I have to say that I think Flamingo would have been far more effective if it had been 300-400 pages longer that it is. For what is great about it is Borden’s courage to do what Dickens and Zola and Tom and Thomas Wolfe did–to grab her narrative in her teeth and plunge with it into the depths of her subject, to force us to take time to really get to know someone, some place or some thing.

Here, for example, is the start of her sketch of a supporting player in the story. Ikey Daw is a Jewish financier, a deal-maker who would probably beat up Wolfe’s “Masters of the Universe” for their lunch money:

To Ikey Daw, who was equally at home in all the numerous Ritz Hotels of the earth, crossing the Atlantic was so much a matter of habit that he scarcely noticed whether he was stepping on or off a ship. His activities were much the same wherever he was. When the telephone was switched off, the wireless got busy, and the many threads that he spun from his fingers held taut, spreading out from him in a beautiful elastic web that covered the earth. He didn’t appear to be aware of the sea sliding and heaving beyond the rail of the Aquitania. It didn’t affect his appetite, and he didn’t look at it. Natural phenomena like storms, heat and cold, a lot of water, or dry land, and the things described in the geography books, never attracted his attention. Nor did the antics and idiosyncrasies of human beings, except for so far as they came into his scheme, and for the most part they didn’t. He could afford to despise them, and so, wherever he was, he was always in the same place, and although he traveled pretty constantly, he never seemed to himself to be moving and yet never had the feeling of being put. If he had any feeling of being somewhere, it was of being suspended in the air, like a spider at the center of his web, and the web, since he had spun it out of himself, revolved round him, contracting, twisting, and adjusting itself to cover the globe with himself continually at the middle of it.

Borden spends over dozen pages introducing us to Daw, telling about his rise to wealth and power, revealing his passions and foibles, taking us along as he walks along the deck of the ship, smugly dismissing the importance and concerns of the other passengers, hoping to corner Sir Victor in a conversation. It’s wonderfully descriptive and detailed stuff, and as a reader I was happy to plunge in along with Borden and swim through it regardless of where we might eventually surface.

Manhattan, 1928'Not there isn’t any action in Flamingo. There’s a storm at sea, an attempt to manipulate the stock market, an unsuccessful coup on a board of directors, parties, a fox-hunt, even a shooting in a nightclub. Most of the time things move along at a reasonable clip, aside from the dreadful passages about Peter Campbell’s saintly mother and holy fool brother upstate in simple, wholesome Campbelltown.

Unfortunately, Borden’s grand design is undermined by the weakness of its basic story. Peter Campbell, the boy genius of American architecture, has been in love with an Englishwoman he first met when they played together as children on a beach in Cornwall. He’s only seen her three times since, and even then, just in glances–across an opera house in Vienna, entering a car outside the Ritz in Paris. As Peter is about to launch his boldest project ever–a multi-block complex combining train station, corporate headquarters, stores, radio transmitters, and even a church–the woman arrives in New York.

She is Lady Frederika Joyce, wife to Sir Victor Joyce, who is coming to America to tell the President that Great Britain will not repay its war debts. As the Joyces step off the gangplank of the Acquitania (243 pages into a 418-page book), Peter hops on a train to Chicago to pitch a skyscraper for that city. Numerous things happen to both parties, but the net result is that Peter and Frederika do not meet face to face until page 379. Thirty-nine pages later, the book’s over. And no, they don’t run off together to live happily ever after. There are several sub-plots and a cast of dozens, but that’s it as far as the core story goes. And as a protagonist, Peter Campbell leaves a lot to be desired. Even Frederika muses at the end of the book, “He was a great artist but a weak little man ….”

To use an architectural analogy–since Borden devotes a lot of the reader’s time to Peter Campbell’s unique, inspiring designs and constructions–the flaw that topples Borden’s own grand design is the weakness of her foundation. It’s as if she slaps down a layer of tarmac and then proceeds to build the Empire State Building on top of it. For Flamingo to work, it either needed to be equipped with a rock-solid substantial foundation or to have everything that wasn’t essential slashed away in a ruthless fit of editing.

Still, as failures go, this one is awe-inspiring and very much worthy of revival and reconsideration. Among her contemporaries, only John Dos Passos, in U. S. A. carried out a grander design. In neither case does the final product quite fulfill the promise of its initial chapters, but that in no way should suggest that either book is not interesting, as fascinating at times as a kaleidoscope.

Lady Edward Spears (Mary Borden), 1931It’s particularly noteworthy when one realizes who Mary Borden was and what she was up to at the time she wrote Flamingo. Borden was the daughter of a Chicago industrialist, who was married with two daughters and a third on the way and living in England when the First World War broke out. She used her money and influence to establish a field hospital and deployed with it to the Western Front, where she worked as a nurse throughout most of the war.

During the war, she fell in love with Edward Spears, who played a key, if sometimes controversial, role as a liaison officer between the British and French armies. She divorced her first husband and married Spears just before the end of the war. After the war, they set up house in London. Spears went into business and Parliament. They both wrote memoirs of their experiences in the war: Borden’s The Forbidden Zone in 1929; Spears’ Liaison 1914 in 1930.

Somewhere between the war, divorce, marriage, and keeping up an active social life, Borden also found time to write novels, publishing her first book, The Romantic Woman, in 1920. Flamingo, 1927, was her fifth novel and sixth book. Before the end of the decade, her critical reputation had earned her a place alongside Edith Wharton and Ellen Glasgow in at least one survey of American women writers.

Though most of her family fortune was lost in the 1929 stock market crash, Borden continued her hectic pace, publishing seven more books before the Second World War broke out. Once again, she and Spears went to the front. Spears, now a general, served as Churchill’s military liaison with the French government during the desperate weeks in June 1940 when the Germans invaded. Borden, with the help of Lady Frances Hadfield, formed the British-French ambulance unit and went with it to support the French troops in the Alsace. She arranged the evacuation of the unit from France and then led it to Syria and Egypt, where they provided aid to Free French forces. Borden and the ambulance unit returned to France after DDay and took part in the grand liberation parade in Paris. However, Charles DeGaulle soon after disbanded it, reportedly in a pique, having issued a ban on British units participating in the parade.

Woe on he who takes on an industrious woman with a gift for the pen. Less than a year after the war, Borden published Journey Down a Blind Alley, which recounted the many ways in which DeGaulle and others in the Anglophobic Free French leadership went out of their ways to make things difficult, even as French soldiers were lying in the unit’s beds. (I picked up a copy of Journey some months ago in hopes of writing about it, but I found it no better than the average war memoir aside from the uniqueness of Borden and the unit’s circumstances.)

Borden’s pace slowed only a bit after that. Her last book, The Hungry Leopard, was published in 1956 when she was 70. She died in 1968 and Spears passed six years later.


Locate a Copy


Flamingo, by Mary Borden
Garden City, N.Y.: Doubleday, Page & Company, 1927

Ruminator Finds added to Sources

Ruminator Finds (originally known as Hungry Mind Finds), which was part of the catalog of Ruminator Books (originally known as Hungry Mind Books), the publishing arm of Ruminator Books, a legendary St. Paul, Minnesota bookstore (originally known as Hungry Mind Books), which also published the literary quarterly The Ruminator Review (originally known as–you got it–The Hungry Mind Review), has been added as a new Source (see under “Sources” to the left) with a list of the dozen or so titles issued during the first five years of Ruminator Books.

The Ruminator Books storeThe story of Hungry Mind/Ruminator Books is a parable of how far a passion for books can take you … until simple economics kick in. David Unowsky, who founded his independent bookstore, Hungry Mind Books, near the campus of Macalester College in St. Paul, Minnesota in 1970, and it acquired a reputation as one of a handful of truly great American bookstores. In the mid-1990s, he and his wife, Pearl Kilbride, along with other partners, started up an independent press, also known as Hungry Minds Books. Over the course of its nearly ten years’ existence, the press published 50 titles, with an emphasis on literary fiction, nonfiction and poetry, including a series of reissues of quality non-fiction under the rubrics of Hungry Mind Finds and Ruminator Finds.

In early 2000, they changed the company’s name to Ruminator Books after selling the name to Hungry Minds, publisher of the hugely successful [Fill in the Blank] For Dummies® series. Hungry Minds was later acquired by the technical publishing giant Wiley.

Unfortunately, that move was motivated mainly as an attempt to inject a positive cash flow into what was already a failing business. By mid-2004, the bookstore was forced to close its doors. The press was abandoned as an unsupportable venture, and the literary magazine Unowsky and Kilbride had also established became the last casualty in late 2005.

The Ruminator Finds list is an eclectic sample of some of the best non-fiction writing of the late 20th century and includes such well-recognized classics as Pat Jordan’s baseball memoir, A False Spring, and Bill Barich’s Laughing in the Hills, as well as a few fine but lesser-known works like Carl Raswan’s 1934 memoir, Black Tents of Arabia (My Life Among the Bedouins).

Wettermark, by Elliott Chaze

Cover of first U.S. edition of 'Wettermark'

Cliff Wettermark is a burnt-out case. After burning his bridges with the Associated Press, the Times-Picayune, and a hack PR job for a chiropractor, he’s now stuck in a dead-end job as a reporter for the Catherine, Mississippi Call. He lives in a dump next to a couple of Baptist zealots. He owes the bank $600. His wife needs her teeth fixed and he has something on the side of his nose the local GP says looks cancerous.

As Wettermark opens, he’s sitting outside the office of the local bank manager waiting to ask for an extension on the loan when all hell breaks loose. A bank robber has just held up the drive-up window of another branch and made off with ten grand. Wettermark heads off to get the story, but he can’t shake the bandit’s action from his thoughts: “No wheedling or simpering. It contradicted everything in Wettermark’s experience with the process of securing money from a bank.”

Wettermark has managed to shake the booze that got him into trouble with the AP, and cigarettes, too. But his troubles, the endless tedium of life in Catherine (“a long gray nothing, starting with nothing and leading to nothing”), and the lingering thoughts of having enough cash to live for years without a care lead him to pick up a fifth before covering a local televised press conference. By the time of the show, he’s well-lubed and fires off an unplanned, sarcastic question at the visiting senator. And soon enough, he’s out of a job.

Which leads back to thoughts about the bank job. The reality of the act had opened his eyes to new possibilities:

He had known, of course, that banks could be robbed but before today it never entered his mind that he himself could bring off such a thing. He had thought of a bank robbery the way he thought of having a girl when he was fourteen–it could be done, it had been done, but only by experts who possessed extraordinary courage, skill and persistence. Actually there wasn’t much to it once you had your first girl. The astounding revelation was that some girls really and truly wanted to be bad, and apparently there were banks in the same category.

The quality of the local police also helps build up his confidence in his ability to pull off a similar heist. Of the town’s captain of detectives, Wettermark muses, “He was able to make drinking a cup of coffee look as if the fate of the nation depended on it and this was the primary reason, if not the only reason, for his promotion to captain. He could not track an army tank in fresh mud.”

And so Wettermark stakes out a bank in a town a few counties away and begins making preparations. I won’t spoil the book by revealing whether he successes and what happens after, except to say that Chaze manages to make it suspenseful, comical, sickening, and vivid with some of the best writing in the novel:

He was sweating heavily beneath the rubberized coat. He tried to kid himself into believing that this wasn’t what it was, that this wasn’t the edge of the platform and he wasn’t going to have to make the dive at all; that he was simply farting around out in the country and when he got to Knoll Springs he would stop at a filling station and get a cold drink and exchange a bit of rural-route shit with the attendant. They loved to joke about motorcycles. They grinned and said: “You want me to wipe that windshield, suh?” Or they said: “I see you got yourself some pure-dee air-conditionin’.”

Elliott Chaze, 1969'The writing is what makes Wettermark more than a run-of-the-mill mystery. Chaze, who worked for the Hattiesburg American for thirty years, knew his setting well: the woods and swamps, the sleepy towns, the cheesy politicans and slyly dumb cops, the racism and veiled caste system. He’d also written novels before Wettermark. The Stainless Steel Kimono, about about a group of American paratroopers in Japan, was reputed to be a favorite of Hemingway’s, and his 1953 pulp novel, Black Wings Has My Angel is considered by some to be, in Ed Gorman’s words, “the single best novel Gold Medal published during its heyday”–which is the tough-guy crime writing equivalent being given an honorary National Book Award by Philip Roth.

I do have to say that Chaze considerably undermines the fine writing of most of Wettermark with the clumsy plotting of the book’s last twenty-some pages. But the narrative voice is what makes or breaks most crime novels, and even on page one, Chaze’s writing made me want to follow wherever his story might take me. He’s funny, cynical but self-deprecating, succinct, and a master of picking out little images–the stick orange plastic chair outside the bank manager’s office, the town mayor’s penchant for publicity shots of him pointing at empty space where some warehouse or fast food restaurant is going to be built–that stick in memory long after the book is finished. If the rest of his books have anything like the same style, I look forward to reading more.

Bill Pronzini wrote an admiring piece on Chaze’s work on his Mystery File blog a couple of years ago, which prompted a similar reflection by fellow writer Ed Gorman: “Chaze would have been right at home with the other hardboiled greats, Fredric Brown, Peter Rabe, Jim Thompson, Charles Willeford and many others.” There was a report back in 2007 that Elijah Wood was going to produce a film version of Black Wings Has My Angel, but it appears that may have gone the way of John Leguizamo’s Esquivel bio-pic and other much-anticipated unproduced works. Black Mask Books has reissued Black Wings and has Amazon in Kindle format, but since it’s in the public domain, you can just download a PDF version of the book from Scribd.com thanks to a user named jvorzimmer. You can also find biographical sketches of Chaze on the Mississippi Writers and Musicians site as well as on Murder with Southern Hospitality, a special exhibit site from the Ole Miss library.


Find a copy


Wettermark, by Elliott Chaze
New York: Charles Scribner’s Sons, 1969

Short Drive, Sweet Chariot, by William Saroyan

Cover of U.S. paperback edition of 'Short Drive, Sweet Chariot'“In the summer of 1963 I bought a 1941 Lincoln limousine in New York, so that I might be chauffeur in California to the few remaining dignitaries in my family,” William Saroyan explains at the start of Short Drive, Sweet Chariot. This slim book is his account of his trip to Fresno, accompanied by his cousin John, to take his uncle Mihran and other relatives out for rides in style. Or rather, his account of part of that trip. The part from Ontario to the edge of South Dakota, where Saroyan cuts to the chase and a short postscript saying, in effect, “So anyway we got to Fresno and took Mihran out for a drive.”

This is Saroyan at the point in his career where he’d just about given up any pretence about sticking to any particular literary form, when most of his work consisted of perambulating, wise-cracking monologues. For a few fans who truly love his idiosyncratic meanderings for the loose, baggy messes they are, these books are Saroyan in his purest, most brilliant form. For most of the reading public that had made early books such as The Daring Young Man on the Flying Trapeze best-sellers, a book like Short Drive, Sweet Chariot wasn’t worth noticing.

Personally, I kinda prefer these latter messy books. I still have a copy of his last book, Obituaries, from 1979, which was nominated for an American Book Award and helped–a bit–to restore Saroyan’s critical reputation. Obituaries has the structure of an entry for each day of the day, with each entry discussing someone whose obituary appeared in a paper that day. However, more than a few entries start out along the lines of, “So-and-so died today. I never met him. There was another guy I knew, though, and he ….”

But you don’t read one of these books because Saroyan follows the rules, you read it because he’s almost always at least interesting and occasionally brilliant, funny, poetic, or tender. And when he’s not … well, the momentum along will carry you and him along to the next good bit. Like this little meditation:

In getting from Windsor to Detroit there is a choice between a free tunnel and a toll bridge, which turned out to be a short ride for a dollar, which I mentioned to the toll-collector who said, “One of those things,” impelling me to remark to my cousin, “Almost everything said by people one sees for only an instant is something like poetry. Precise, incisive, and just right, and the reason seems to be that there isn’t time to talk prose. This suggests several things, the most important of which is probably that a writer ought not to permit himself to feel he has all the time in the world in which to write his story or play or novel. He ought to set himself a time-limit, and the shorter the better. And he ought to do a lot of other things while he is working within this time-limit, so that he will always be under pressure, in a hurry, and therefore have neither the inclination nor the time to be fussy, which is the worst thing that happens to a book while it’s being written.

Or this one about the precedent Kennedy set as the first Catholic elected President:

President Hamazasp Azhderian, that’s the man I’m waiting to see in office. I’d like the order to be about like this, for the purposes of equity. After the Catholic, a Jew. Then, a twice-married, twice-divorced beautiful woman, known to be fond of bed and gazoomp. Then, a Negro, preferably very black. Then, a full-blooded Blackfoot. And finally Hamazasp Azhderian.

C’mon now–wouldn’t it be cool to have “a twice-married, twice-divorced beautiful woman, known to be fond of bed and gazoomp” after President Obama?

“Americans,” Saroyan writes, “have found the healing of God in a variety of things, the most pleasant of which is probably automobile drives.” Short Drive, Sweet Chariot is certainly one writer’s celebration of the pleasures of driving a fine vintage automobile along the mostly pre-freeway roads of America, but in Saroyan’s case, there doesn’t appear to be anything he needed to be healed of. More, it was a golden opportunity to expound for hours on end to a capture audience–namely, his cousin John. John comes off as an intelligent and enormously patient man who only occasionally finds it necessary to burst one of his cousin Bill’s bubbles.

And fortunately, cousin Bill was a pretty interesting guy to listen to. No, Short Drive, Sweet Chariot is no masterpiece and not much more than a bit of intelligent, poetic, meandering fluff. But it’s also an entire work, in the sense that Saroyan used that word: “incomplete, impossible to complete, flawed, vulnerable, sickly, fragmented, but now, also, right, acceptable, meaningful, useful, and a part of one larger entirety after another, into infinity. Kind of a modern age equivalent of the Great Chain of Being.


Short Drive, Sweet Chariot, by William Saroyan
New York: Phaedra, 1966

Black Squirrel Books added to Publishers Page

Thomas DePietro, who’s published several books of conversations with authors such as Don DeLillo and Kingsley Amis, wrote to mention another publisher of neglected books: Black Squirrel Books. A special imprint from Kent State University Press, Black Squirrel Books is devoted to “reprints of valuable studies of Ohio and its people, including historical writings, literary studies, biographies, and literature.” Which in and of itself wouldn’t rate a mention here were it not for the fact that the series includes two reissues from the once-legendary tough-guy writer, Jim Tully, who wrote trailer-trash fiction well before trailer parks were invented, and who gave Hemingway and other artistes the space experiment with brutality, violence, and bare-boned sexuality with gutsy novels like Laughter in Hell and Circus Parade.

DePietro provided the preface to a forthcoming reissue of the novelist Raymond Decapite’s 1961 book, A Lost King. The book was adapted for the screen as “Harry and Son” in 1984 by Paul Newman, who wrote, directed, and acted in the film. DeCapite’s most recent books are still available from Sparkle Street Press. DeCapite passed away just a few days ago at the age of 84, having lived in Cleveland, in which most of his stories are set, all his life.

The Late Great Creature, by Brock Brower

R. W. Rasband writes with a strong recommendation for Brock Brower’s 1971 novel, The Late Great Creature: “In a time when both Stephen King and satirical comedy are so popular, I don’t understand why this novel isn’t more well known.”

In his review on Amazon.com, Rasband wrote of the novel:

The movie documentary “Stone Reader” is about great books that have been lost to public memory or somehow never gotten the attention they deserve. My nomination for a “great lost book” is Brock Brower’s The Late Great Creature, an amazing 1971 novel that needs to be resurrected for a certain-to-be large, appreciative audience. The title character is Simon Moro, the greatest horror Cover of first U.S. paperback edition of 'The Late Great Creature'movie star of the 1920’s and ’30’s (he’s like Lon Chaney Sr. to the nth degree.) We learn of his fall from fame, and his attempted comeback in the phantasmagorical year of 1968. In his prime he made “Ghoulgantua”, the most terrifying film ever made (about a combination Frankenstein’s monster/vampire.) He created the famous monster “Gila Man” (a sort of werewolf lizard) during the war. Later he was blacklisted for political reasons, went to Germany to make a legendary, unreleased horror movie about the Nazi concentration camps that was supressed by both West and East Germany, and gradually sank into obscurity. Then low-budget Hollywood came calling with an offer to make a cheap Roger Corman-style Edgar Allen Poe rip-off titled “Raven!”

The novel has an amazing storytelling virtuosity that suggests, as one critic put it, a younger Nabokov raised on creepy old horror movies. There are three narrators: Warner Williams, a terminally-slick magazine writer who provides the basic back story of Moro’s amazing career. There’s also Terry Cowan, the amoral, cynical director of “Raven!” And there’s Moro himself, who drops some pretty big surprises in his narration that make you question all that has gone before. Like Bela Lugosi, Moro struggled with demons (including drugs and poverty) but Moro developed some real heroism and hard-won insight. As he says, “Where there is no spine, there is no tingle.” He looks out at the corrupt America of the 1960’s and decides to shock it back to its moral senses by scaring the country to death during the publicity tour for his new movie. He does this in grotesque, hilarious ways that you have to read for yourself.

The book is wonderfully satrical about celebrity culture and is also a loving tribute to the horror genre. It’s stunningly verbally agile. There are lines that will stick in your head forever. It’s also got a thrillingly intricate plot, that as you unravel it through the three narrators, will amaze and delight you. In a way it reminds me of Michael Chabon’s “Wonder Boys” in its compassionate yet blisteringly funny and painstakingly accurate portrait of artistic losers run amok. I read this in high school and it remains one of my very favorite books. You should get hold of a copy immediately, any way you can.

Time magazine’s reviewer was equally enthusiastic when the book first came out:

If this were all Brower had done, The Late Great Creature would be only one of the funniest tours de force of the past few years. But he has done more. With few illusions of ever returning to the great days of Saturday matinee catharsis, he illustrates the salutary nature of terror—its ability to exorcise fears of evil and death. He also toys gracefully with the paradox that fiction is capable of more truth than journalism. The truth about Brock Brower, an experienced freelance journalist, is that he must now be reckoned with as an extraordinarily capable novelist.

As recounted in an article in Publisher’s Weekly back in 2005, however, such positive reviews and even a National Book Award nomination couldn’t get Brower the time of day or a publisher. It was nearly 30 years before he attempted fiction again. The result, Blue Dog, Green River, a somewhat mystical tale of Blue Dog, a one-time chicken thief, was published by the admirable David R. Godine Press and is still in print.

Some Recommendations from Maura Kelly

Maura Kelly, a prolific writer for journals ranging from The New York Times to The Daily Beast and Marie Claire, wrote the other day to give this site a thumbs up. Prodded for a few of her own neglected favorites, she offered the works of James Salter, including Light Years, A Sport and a Pastime, and his memoir, Burning the Days. After decades of genuine neglect–books long out of print, periodic mentions by admiring fellow writers–Salter’s star has finally risen and one might fairly call him America’s best-known neglected writer. All of his books are back in print; he’s been a featured writer in the New York Times, and clocks in with over 300,000 hits on Google. None of which helped pay the rent forty years ago, of course.

She also mentioned John Gardner’s On Moral Fiction, which sparked a fair amount of controversy when it first appeared back in 1978. In th John Gardner in 1978book, Gardner attempts to hold the high ground against contemporaries such as Bellow, Mailer, and the fearsome nouveau romans of Robbe-Grillet and others. He argues that,true art “clarifies life, establishes models of human action, casts nets toward the future, carefully judges our right and wrong directions, celebrates and mourns.” Whether his criticism was valid or not, it certainly helped make the book perhaps the best-selling work of literary criticism of its time. In a thoughtful piece for the Atlantic, published back in 2005, the novelist Mary Gordon argues–convincingly, I think–that Gardner was pretty much dead wrong. King Lear, for example, is certainly a work of true art, but one could hardly say that he’s a model of human action. A striking example of human action, yes. A model to be emulated, though? I side with Gordon’s much more straight-forward approach: that it’s the raising of “intriguing and unanswerable questions” that marks great fiction.

Gardner’s own novels, particularly Nickel Mountain and October Light, had a certain cult classic status among college students back in the 1970s, although I suspect the sales had as much to do with the fine cover art by Paul Bacon, which was a distinctive blend of the Gothic and the psychedelic that promised something much different from the grim tales of life in upstate New York one found inside the covers. I suspect that, in the long run, Gardner’s Grendel, a fierce retelling of the Beowulf tale from the perspective of the monster–a somewhat experimental piece more like shudder Barth’s Chimera than Middlemarch, that will maintain his artistic reputation.

“Why Do Some Writers Disappear?” from the Wall St. Journal

Source: http://online.wsj.com/article/SB10001424052970204556804574260451110396092.html

“Why do exceptional writers disappear?” a reader of Cynthia Crossen’s regular “Book Lover” column in the Wall Street Journal:

Cover of first U.S. edition of 'That Summer in Paris'Morley Callaghan is my favorite 20th-century novelist. His That Summer in Paris is among the best of memoirs. His writing is splendid, but he is forgotten. Every book lover can list authors who were wonderful and maybe even great (John Marquand, John Dos Passos, Erico Verissimo) but who are gone. Why do exceptional writers disappear?

Crossen admits that Callaghan’s name is unknown to her, but in her defense, notes that,

… even in the 1960s, Mr. Callaghan was “perhaps the most unjustly neglected novelist in the English-speaking world,” wrote Edmund Wilson, who hypothesized that Mr. Callaghan might have been the victim of geographical snobbery. Critics seemed to doubt that even a literary genius comparable to Chekhov or Turgenev “could possibly be functioning in Toronto.”

She concludes with a mention of this site: “A very fine Web site, neglectedbooks.com, has many links to lists of lost classics as well as its own ruminations on the subject.” But then she also points out that, “… a site search showed not a trace of Morley Callaghan.”

Well now it does, courtesy of Ms. Crossen.