Ryan O'Connor, The Voids

This is a phenomenal novel I can't recommend enough.

Do yourself a favor and pick up a copy today.

See, Ryan O'Connor, The Voids.

'The Cult of Book Ownership'

Just when you think you've seen it all. 

I'm confused. I thought it was supposed to be right-wingers who are against books. pic.twitter.com/awfdyaaZiQ

— Steven F. Hayward (@stevenfhayward) February 3, 2023

William S. Burroughs, Naked Lunch

At Amazon, Naked Lunch: The Restored Text.

Corporate Consolidation in Publishing Industry Downshifts After Penguin's Bid to Acquire Simon & Schuster Collapses

Even Stephen King was against the merger, which was very likely to hurt the little people in the publishing world, those who don't have the enormous influence and market share as The Shining author.

At the New York Times, "A Huge Merger’s Collapse Breaks a Pattern of Consolidation in Publishing":

The deal to acquire Simon & Schuster would have made the buyer, Penguin Random House, even larger, and reduced the number of big publishers in the U.S. to four.

After two years of regulatory scrutiny and heated speculation in the publishing world, after a hard-fought court battle and hundreds of millions of dollars in expenses, Penguin Random House’s deal to buy Simon & Schuster officially collapsed on Monday.

The unraveling of this agreement stopped the largest publisher in the United States from growing substantially larger. It also paused consolidation in an industry that has been profoundly reshaped by mergers and acquisitions, with little regulatory intervention.

The implosion of the deal came three weeks after a federal judge ruled against Penguin Random House in an antitrust trial, blocking the sale from going forward on the grounds that the merger would be bad for competition and harmful to authors. In order to appeal the Oct. 31 ruling, Penguin Random House needed Paramount Global, Simon & Schuster’s parent company, to extend the purchase agreement, which expires on Tuesday. Instead, Paramount decided to terminate the deal, leaving Penguin Random House out of legal options and obligated to pay them a termination fee of $200 million.

“Penguin Random House remains convinced that it is the best home for Simon & Schuster’s employees and authors,” Penguin Random House said in a statement. “We believe the judge’s ruling is wrong and planned to appeal the decision, confident we could make a compelling and persuasive argument to reverse the lower court ruling on appeal. However, we have to accept Paramount’s decision not to move forward.” The outcome of the trial came as a shock to many in publishing, who have watched the number of big firms dwindle to five, even as those five — Penguin Random House, HarperCollins, Macmillan, Hachette and Simon & Schuster — got larger by buying small and midsize publishing houses. Many feared that the further reduction in the number of big publishing houses to four would leave authors and literary agents with fewer buyers for their books, and would make it even harder for smaller publishers to compete. Many were especially wary of Penguin Random House — already by far the largest publisher in the United States — getting even bigger by absorbing a rival. Penguin Random House has about 100 imprints; together they publish more than 2,000 titles a year. The merger would have given it Simon & Schuster’s approximately 50 imprints, as well as the company’s vast and valuable backlist of older titles.

As it turned out, the Justice Department and the judge who heard the case had similar concerns and blocked the deal, an outcome that some authors and industry organizations celebrated as a necessary check on consolidation.

“The market is already too consolidated,” said Mary Rasenberger, chief executive of the Authors Guild, an advocacy group for writers that opposed the purchase. “A healthy publishing ecosystem is one that has many publishers with different tastes and interests and degrees of risk they’re willing to assume.”

This extends a period of uncertainty at Simon & Schuster, but it is one they are in a good position to navigate. The company’s recent performance has been strong, even as the results have sagged at other major publishers. Its profits for the first nine months of the year were up 29 percent compared to the same time last year, putting it on its way to a having a record-breaking year...

 

Tess Gunty Wins National Book Award for Her Novel, The Rabbit Hutch

I picked up a copy of the book. Check it out, The Rabbit Hutch: A Novel.

She's young and beautiful.

Ottessa Moshfegh, My Year of Rest and Relaxation

This book is hilarious.

At Amazon, Ottessa Moshfegh, My Year of Rest and Relaxation.

We Ignored Salman Rushdie's Warning

From Bari Weiss, "Words are not violence. Violence is violence":

The words are violence crowd is right about the power of language. Words can be vile, disgusting, offensive, and dehumanizing. They can make the speaker worthy of scorn, protest, and blistering criticism. But the difference between civilization and barbarism is that civilization responds to words with words. Not knives or guns or fire. That is the bright line. There can be no excuse for blurring that line—whether out of religious fanaticism or ideological orthodoxy of any other kind

Today our culture is dominated by those who blur that line—those who lend credence to the idea that words, art, song lyrics, children’s books, and op-eds are the same as violence. We abore so used to this worldview and what it requires—apologize, grovel, erase, grovel some more—that we no longer notice. It is why we can count, on one hand—Dave Chappelle; J.K. Rowling—those who show spine.

Of course it is 2022 that the Islamists finally get a knife into Salman Rushdie. Of course it is now, when words are literally violence and J.K. Rowling literally puts trans lives in danger and even talking about anything that might offend anyone means you are literally arguing I shouldn’t exist. Of course it’s now, when we’re surrounded by silliness and weakness and self-obsession, that a man gets on stage and plunges a knife into Rushdie, plunges it into his liver, plunges it into his arm, plunges it into his eye. That is violence.

Read the whole thing.

 

Salman Rusdie, The Satanic Verses

From earlier, "Author Salman Rushdie Attacked During Speech in Chautauqua, New York: 'Multiple Stab Wounds'."

And at Amazon, Salman Rusdie, The Satanic Verses.

Author Salman Rushdie Attacked During Speech in Chautauqua, New York: 'Multiple Stab Wounds'

Iran's Ayatollah Khomeini placed a fatwa (death warrant) on Rusdie in 1989. Obviously claims that Muslims no longer adhere to it are false. Members of the audience were screaming, "Oh my god!"

At the New York Times, "Salman Rushdie is attacked onstage in Western New York."

And, "Stabbing sends ripples of ‘shock and horror’ through the literary world":

Literary figures and public officials said that they were shocked by the news that the author Salman Rushdie had been stabbed in the neck on Friday morning while onstage to give a lecture at the Chautauqua Institute in western New York.

“We cannot immediately think of any comparable incident of a public violent attack on a writer during a literary event here in the United States,” said Suzanne Nossel, the chief executive officer of the nonprofit literary organization PEN America, who noted that the motivations for the attack and Mr. Rushdie’s current condition were unknown as of Friday late morning.

Mr. Rushdie is a former president of PEN America, which advocates for writers’ freedom of expression around the world.

She said in a statement that the organization’s members were “reeling from shock and horror.”

Ms. Nossel said Mr. Rushdie had emailed her hours before the attack to ask about helping Ukrainian writers in need of safe refuge.

“Salman Rushdie has been targeted for his words for decades, but has never flinched nor faltered,” she said. “He has devoted tireless energy to assisting others who are vulnerable and menaced.”

The author Neil Gaiman wrote on Twitter that he was “shocked and distressed” about the attack...

Antonia Angress, Sirens & Muses

There are some very enthusiastic plaudits for ths book. I'm looking forward to reading it.

At Amazon, Antonia Angress, Sirens & Muses: A Novel.

Dorothy B. Hughes, In a Lonely Place

An brilliant novel, first published in 1947, by Dorothy B. Hughes, In a Lonely Place.

Penguin Random House and Simon & Schuster Antitrust Case Goes to Court

Opening arguments were held yesterday. 

The attorney for Penguin Random House, Daniel Petrocelli, is a freakin' firecracker.

At the New York Times, "The trial to decide whether the publishing giant may buy Simon & Schuster is a test of the Biden administration’s push to expand antitrust enforcement."

And at Vanity Fair, "The Antitrust Showdown to Determine Simon & Schuster's Fate Is About to Begin":

Jonathan Karp is rallying the troops at S&S as its suitor, Penguin Random House, heads to trial Monday against Biden’s Justice Department. The witness list is a who’s who of publishing bosses, power agents, and authors—including Stephen King—with a $2 billion deal on the line.

On Monday, as lawyers for Penguin Random House and the Department of Justice were sharpening their sabres ahead of the antitrust duel of the summer, CEO Jonathan Karp fired off an email to his approximately 1,500 employees at Simon & Schuster, the nearly century-old publishing house that Karp has lorded over for the past two years. The fate of Simon & Schuster—whose catalog stretches from the classics of Fitzgerald and Hemingway, to the mass-market gold mines of Stephen King and Mary Higgins Clark, to the recent political blockbusters of Bob Woodward and Mary Trump—has hung in the balance since the publisher was put on the block in March 2020 by its parent company, now called Paramount Global, which arose from the tortured recombination of Viacom and CBS, whose focus on mounting an offensive in the streaming wars leaves little room to manage a comparatively antiquated book-publishing business.

Almost nine months after the sale was announced, Bertelsmann’s PRH bested Rupert Murdoch’s HarperCollins with a $2.18 billion bid for S&S, a proposed mash-up that would turn the Big Five publishers into the Big Four. However, the Champagne toasts turned out to be premature: Last November, Joe Biden’s merger-averse DOJ sued to block the deal, citing concerns that it would give the world’s largest book publisher “unprecedented control” over the industry, resulting in “lower advances for authors and ultimately fewer books and less variety for consumers,” a string of claims that PRH characterizes as ludicrous. S&S has been in limbo ever since—a discontinued operation as far as Paramount Global’s earnings releases are concerned, and yet still bereft of its suitor’s embrace.

Which brings us back to Karp’s memo, a sort of pep talk to counteract the lingering uncertainty. “As I’ve told you before, I am hopeful that Simon & Schuster will become part of Penguin Random House,” wrote Karp, a 58-year-old former reporter and theater buff who rose up to become one of the most powerful and highly regarded figures in the publishing industry. “I spent 16 years at Random House, and I know their culture is a lot like ours—wholeheartedly devoted to books and deeply committed to its employees and authors. Penguin Random House’s parent company, Bertelsmann, has been in the book business since 1835 and shares Penguin Random House’s profound commitment to improve public readership. I strongly believe that Penguin Random House will be an excellent steward of Simon & Schuster’s legacy, and that we, and our authors, will benefit greatly from becoming a part of this superb publishing company.”

The fate of S&S will soon be decided one way or another, with PRH and the DOJ gearing up to face off in court. The bench trial is set to begin Monday, adjudicated by Judge Florence Pan at the U.S. District Court in Washington, D.C. Three weeks have been allocated for the trial, which is slated to run from August 1 to August 19. The attorneys will then have until September 7 to submit any additional briefings to the court, and Pan is expected to rule sometime in November. The witness list is stacked with A-listers from the publishing world, including executives from S&S and PRH, as well as top literary agents and authors. Karp and Penguin Random House CEO Markus Dohle are both due to be called, as are King (for the government), Hachette Book Group CEO Michael Pietsch (ditto), and power agents Andrew Wylie (whose client roster includes Vanity Fair), Gail Ross, Joy Harris, and Elyse Cheney. (Those agents and a few others are notably being called by the defense.) The array of potential witnesses includes PRH honcho Andy Ward and the Pulitzer Prize–winning journalist and best-selling author Charles Duhigg. “During the trial, our ability to comment on the testimony and proceedings will be limited,” Karp told his staff. “We will keep you informed of further developments when we have news that we can share.”

PRH buying S&S is a small deal in the grand scheme of things, but the merger is being closely watched insofar as it reflects the Biden administration’s push to stem corporate consolidation. It also has obvious implications for the already much-consolidated publishing space, where there’s skepticism about creating another behemoth in an industry that has been upended by Amazon. As one big shot editor told me when the lawsuit was first announced, “I don’t know anyone who would think this is a great thing to happen.” Both sides filed their pretrial briefs last Friday...

Keep reading.

 

Thomas Pynchon, Gravity's Rainbow

At Amazon, Thomas Pynchon, Gravity's Rainbow (Penguin Classics Deluxe Edition).

Omar El Akkad, What Strange Paradise

At Amazon, Omar El Akkad, What Strange Paradise: A Novel.

The Deracination of Literature

From Mary Gaitskill, at UnHerd, "We have fallen out of love with good writing":

... More recently, in 2019, Joyce Carol Oates came to Claremont McKenna where I was teaching and did an intimate Q&A. I brought up the writer John Updike; I was teaching a novel by him which was hard for students to read partly because he was sexist and backward in his racial attitudes, but even more because he described his worlds very, very densely. He would spend pages describing what a character sees driving down a country road at night. Students had a hard time even tracking it — they could, but they had to try. (Note: at least one of them, once he got the hang of it, loved it, which was great.)

I wanted to hear what Oates had to say about it because she’s of an older generation; she and Updike were peers. What she said was (paraphrasing again): yes, John could describe anything and everything but no one wants to read that any more, because (directly quoting) “people have moved on”/ I was really surprised by this. “Moved on”? We’ve moved on from the world we live in? How is that possible?

I want to make clear that I absolutely don’t mean any disrespect to Saunders or Oates, both of whom I admire. They were, after all, just talking off the top of their heads in a moment. (It’s possible that George in particular thought I sounded pretentious — and, actually, I can see how my words could sound that way. But these things are very real to me and deserve big earnest words, monster, gesticulating words.) In any case, their comments really stayed in my mind. Both writers are serious and brilliant people with sensibilities very different from mine and… they may be right. Perhaps — let’s face it, probably — literature has moved on. We don’t look at the physical world as we once did, and so we don’t write about it as we once did. And that is just one way it is being taken for granted and abused to the point of destruction.

That may sound rhetorical, but it isn’t. It is remarkable to me, based on the sample of humans that I’ve had in writing classes, both “kids” and adults, how many people: 1) express great concern about climate change and its effects on the planet, 2) are completely uninterested in other humans’ visions of what the planet they want to save looks, feels and sounds like, and 3) are even less interested in writing or just noticing what it looks like to them. Even as a writing exercise it’s hard for them to say, for example, what someone’s face looks like in a fundamental way. Which is not to say that they can’t do it. Some of them do it very well once they try. But it doesn’t occur to them in the way I think it naturally occurred to people of my generation.

Fascinatingly, one student told me that he didn’t like to describe what people look like because he thought it was like staring at someone which was rude. Another remarked in a similar spirit that in describing people you have to assign value to their appearance in terms of conventional beauty standards. This second statement is completely untrue; conventional beauty standards can be made irrelevant when describing a face if you want to focus on how the person’s nature animates that face.

The first concern, about rudeness, makes more sense to me. But it confuses social looking with artistic looking. Artistic looking is about care and respect. It is like saying: I see this human in my mind’s eye and this particular human is worth the most precise attention I can give them. Because they won’t be here forever and they are as amazing as any animal you might see in a documentary devoted to the heart-breaking beauty of endangered animals. That is not just respect, that is reverence. It is a more intense, focused version of reverence that normal, non-writers can experience or at least used to potentially experience all the time.

I am thinking of something I saw on the subway in the early Eighties, perhaps 1982. I was sitting at the end of the last car on an express train and saw three or four boys — in my memory they are 11-13 years old, maybe younger — grouped around the back window, staring out of it with pure absorption. Curious, I stood to look over their shoulders and saw what they were so raptly taking in: the piercing combination of speed and density as the train gathered momentum and hammered through the massive concrete and metal tunnels, our view herking and jerking with the cars, snatching bits of burning light in metal casement, underground signage, the track flashing and going dark as we clangored through stations, past dozens of waiting humans, personalities firing off bodily messages that our eyes saw before our minds could read them. It was beautiful and the boys were radiant with it, this wordless amazement of things.

I think I remember this so vividly so many years later because even though it wasn’t “nature” the boys were looking at, the way they were looking showed natural reverence, something no one had to instruct them about. (Probably I also remember because I was young too, in my 20s, and was unconsciously forming what mattered to me, in life and in the art I was working on.) I’m sure they were not even aware of me but still, witnessing their shared seeing was like a spiritual recognition similar to what I might experience alone in my room, reading the world through the eyes of a great writer.

That may seem an odd comparison, but it makes sense to me because it is a real-life example of what I was talking about at the start of this piece, how the deep nature of stories can be revealed through descriptive imagery of small things irrelevant to the obvious narrative — unexpectedly poignant things we notice intensely or just out the corner of our eye, glimpsed patterns outside the spectrum of our daily lives.

It makes me sad to think that those same boys, if they existed today, wouldn’t be looking out the subway window because they would be staring at a phone. But even so, they would still have that ability to see in them, waiting to come alive...

RTWT. 

A Student's Perspective on Book Banning

From By Sungjoo Yoon, "I’m a High School Junior. Let’s Talk About ‘Huckleberry Finn’ and ‘Mockingbird":

BURBANK, Calif. — In late 2020, when the Burbank Unified School District removed five classic novels from mandatory reading lists in my city’s classrooms, I started a petition to protest the decision. The petition, which is still open, has more than 5,000 signatures.

I was a sophomore at Burbank High School at the time, and had read four of the five books in school — “The Adventures of Huckleberry Finn” by Mark Twain; “Roll of Thunder, Hear My Cry” by Mildred D. Taylor; “To Kill a Mockingbird” by Harper Lee; and “The Cay” by Theodore Taylor. The fifth, “Of Mice and Men” by John Steinbeck, I read on my own a few years earlier.

The books were being removed from the core curriculum, according to Matt Hill, the superintendent of the Burbank Unified district, after complaints from students and parents that the depictions of racism and language in these works — particularly the use of the N-word — caused harm to Black students.

My position was this: I acknowledged that Black students were being marginalized in our classrooms (I was sympathetic, too; I am all too familiar with the demeaning nature of racism) — but did not think that it was the fault of these books or their content. I believed, and still believe, that the solution was not to remove the books, but to add more books written by people of color, and to better train teachers to teach these books sensitively to students.

As the petition attracted signatures, I spoke at several school board meetings on the issue. I recall one meeting in particular. I had prepared to talk about how these novels helped shape me both as a student and as a human being. I spoke briefly about how reading the story of a Black family in the Deep South in “Roll of Thunder, Hear My Cry,” under the guidance of a caring teacher, had moved me to tears and to a commitment to learn more about the resilience and resistance of the people upon whose backs this country was built. I explained how these class experiences helped move me and some fellow students from complacent private citizens to people who today are deeply involved in the fight for social justice.

There was more I could have said: How Atticus Finch’s defense of Tom Robinson in “To Kill a Mockingbird” taught me the danger of complacency; how the unlikely friendships of Huckleberry Finn and Jim in “The Adventures of Huckleberry Finn” or Phillip Enright and Timothy in “The Cay” taught me that love transcends any and all differences.

But standing on the boardroom floor as comments from others in the meeting began, I witnessed the public forum — made up mostly of parents, administrators and educators — devolve into tribalist dissension. The meeting quickly became a two-sided shouting match pitting supposed “freedoms” against purported “justice.” There was plenty of arguing, but little or no meaningful discussion on why those novels were in question, or what students would lose or gain by a ban against them.

At that moment, I had a long-overdue realization: How we as Americans approach restrictions on literature curriculums is not only flawed but also wholly reactionary. My experience at that meeting and others convinced me that the problem is not that we disagree, but how. We need to shift focus away from reflexive outrage about restrictions and bans, and toward actual discussions of the merits and drawbacks of the individual books...

Keep reading.

 

Anne Rice, Interview With a Vampire

At Amazon, Anne Rice, Interview With a Vampire.

Jonathan Franzen, Crossroads

At Amazon, Jonathan Franzen, Crossroads: A Novel.

Alex Haley's 'Roots'

An all-time American classic, no question.

At Amazon, Roots.

James Baldwin, Go Tell It on the Mountain

At Amazon, James Baldwin, Go Tell It on the Mountain (Vintage International).