Tag Archives: books

Learning from Utopia

5 Sep

I usually like to imagine myself a cynic, but we all delude ourselves in our own little ways, and as a person who’s never had any shortage of aspiration, a utopian impulse surges up every now and then. As I’ve explained before, I have deep reservations about utopian thinking, and am not a candidate to run off and join a commune anytime soon. But there’s always something we can learn from past efforts to build a perfect world, and as I think about articulating a more complete positive vision, the time was ripe to explore a few older utopian dreams.

And so the past couple weeks found me reading a book named Utopia Drive, in which author Erik Reece takes a road trip through some scattered American movements that aspired to utopia. He visits the Thomas Merton’s old abbey, explores Robert Owen’s Equity Stores, and sits beside Walden Pond, among other locales. Most of these date to the nineteenth century, fascinating but quaint tales of cultish communities on the frontier that achieved varying degrees of success before their sexual morals or the power of an industrial economy laid them low. Reece refuses to consider them failures, though: the Shakers, the Indiana town of New Harmony, and the perfectionists of Oneida, New York, all lasted for decades and more or less approximated their founders’ visions for a spell. Their common theme among the relative successes was a religious fervor that went beyond some vague sense of a brotherhood of man, which says some things about attempts to order societies only on intellectual principles, but we’ll save that for another time. Now, religious or not, none of these communities remain.

These noble relics lead one to wonder if this old eighteenth century ideal of a utopia distorts the use the concept may have in the present day. Even Oneida, which was relatively well-integrated into its surrounding community, could close itself off from the outside world in a way that isn’t really possible today. Separation is now nearly impossible. Most of Reece’s present-day examples rely on a key export or somehow take advantage of the broader forces of capitalism, as did the one present-day intentional community I’ve visited in my travels. One resident of the contemporary Twin Oaks community in Virginia, whose hammock-and-tofu manufacturing enterprise it allows it to operate more or less as it aspires to, laments that her friends there, in the end, aren’t any happier than those on the outside, and few stay for long. Outside of a few true believers, Twin Oaks comes across as more of a temporary resting house to where one goes to restore oneself, not a community bound for time eternal. In a similar vein, Rod Dreher’s attempts to explain his religiously conservative Benedict Option communities have (to his intense frustration) usually been construed as attempts to found isolated communes in the woods. While not explicitly utopian—for the orthodox Christian, that can’t come in this life—the debate here is much the same, and hinges on the question of just how far one ought to go in retreating from the world to build one that can coexist with one’s ideals.

For my purposes, though, that isn’t necessarily a problem. Reece’s book succeeds because it’s not just an elegy for a lost past or idolatry of a few scattered communities in the present. Instead, he looks to draw from the utopian impulse that many people feel; to take that quest for an answer on how life should be lived and apply whatever lessons might come out of those who have asked these questions in the past. The end goal of utopia, one senses, should not be happiness, but a community that inspires the somewhat more virtuous lives of which happiness is a byproduct.

Politically, Reece would appear to be an ally of the Bernie Sanders left, as his concluding chapter labels income inequality and dependence on extractive industries the two greatest threats to contemporary American existence. However, his takeaways from his road trip, while not necessarily opposed to such politics, point in a different direction. They carry an implicit understanding that turning the U.S. into Denmark (an ethnically uniform micro-state that makes Donald Trump look kind to immigrants) is not a realistic path. If the structural economic crisis is as great as Reece would have us believe, initiatives like raising the minimum wage will only amount to letting the people locked in steerage sit on the deck chairs of a sinking ship.

Instead, Reece’s answers are intensely local, and rarely involve government action. He points to Oneida’s silverware company and the Mondragón Cooperative in Basque Spain as models of cooperative ownership that successfully shared profits with workers for long periods of time. He gives a nod to land trusts, which can make homeownership reasonable for lower-income people. He talks about local loan programs, which can get entrepreneurs the capital they need to get off the ground, and managing public lands in trusts as well. (We’re already doing those two with some success here in northern Minnesota.) He explore things like local exchange trading systems, which provide structures in which (usually low-income) people trade the services that they’re capable of providing to one another (child care, home health care, picking up the groceries, etc.) in an exchange of labor instead of cash.

These are ideas worth tinkering with, and few require immediate political power to enact. For that matter, a number of them are less threatening to entrenched capitalist interests than direct redistribution. While this may disappoint the Jacobins in the crowd, it also raises the odds for success. The proposals amount to positive visions for a better society that do not always require their proponents to make bogeymen of opposing individuals or ideologies. Their implementation wouldn’t be seamless or without obstacles, but in all of this, one sees hints of an uplifting local approach that doesn’t lock itself in to old categories that drive people off before it’s even been tried.

The thrust of Reece’s proposals is also welcome for those of us who, despite entertaining occasional millenarian impulses, are mostly content living within the society that exists—or, at the very least, fear that blowing it up may blow back up in our faces in unexpected ways. One of the more fascinating images in the book comes when Reece quotes philosopher Paul Shepard on how the human genome “is encoded with a Paleolithic need for small communities and a closeness to the natural world.” While this certainly romanticizes caveman life, it does tap in to a certain communal bond made real. It underscores the need to build thick networks: close ties within an extended family, lasting loyalty to neighborhoods and place, homes with revolving front doors that people in and out and keep it alive with energy and creativity; a republic of front porches, in the words of one former professor of mine. It means a place to raise children who always know they have a town behind them. It may not be utopian, but it’s a place I’d want to live, and I have every intention of working to make it reality.


In the Light of What We Know

10 Jul

 “If metaphors increase our understanding, they do so only because they can take us back to a familiar vantage, which is to say that a metaphor cannot bring anything nearer. Everything new is on the rim of our view, in the darkness below the horizon, so that nothing new is visible but in the light of what we know.”

I don’t always jump on the bandwagon of the hot novel du jour, but one that got favorable reviews across the board this summer did grab my attention: In the Light of What We Know, a debut novel by Bangladeshi writer Zia Haider Rahman. It’s a novel that stems from that desire for metaphor detailed in that quote above—a desire “to analogize, to link one thing with another, and to make whole the disparate,” in the words of Zafar, the character who is the novel’s primary subject.

It’s a novel that belongs in the same category as Don DeLillo’s Underworld and Jonathan Franzen’s Freedom: it’s a big social novel, trying to talk about the Way We Live Now. With an international flavor thrown in, it can almost seem like the most self-consciously zeitgeisty novel ever. (It’s a novel about the U.S. in Afghanistan! About investment banking and the financial crisis! About the collision of Western and traditional values! Life in the British aristocracy! Math and metaphors and through it all the meaning of writing and therefore of life! And on and on.) But then, of course, you realize that all of this is Zia Haider Rahman’s life, and that he’s just writing in the light of what he knows. Of course, that alone isn’t enough to dismiss the charges of pretension, and every now and then, the quotes at the start of each chapter grow to be a bit much, or the characters’ intellectual asides don’t quite ring true, even given the depth of knowledge they display. It’s clearly a debut novel, carried by the same instinct I first had when I started writing: the author believes he has to pack in as many of his thoughts as humanly possible, lest any one little drop of his brilliance be left unwritten.

The good news is that Rahman is rather brilliant, and knows this. One exceedingly self-conscious pre-chapter quote by Italo Calvino even lays it out: “overambitious projects may be objectionable in many fields, but not in literature.” Indeed, why shouldn’t he go for it? Literature is far more forgiving of possible overreach than the real world, and if the end result gets us somewhere, who cares about the sniping of the cynic from on high? This is a novel as personal exploration, the lines between reality and embellishment obscured; one man’s effort to turn everything he’s known into a somehow coherent narrative arc. To the extent that anyone can meet that near-impossible goal, it does well, and the bevy of glowing reviews shows how sincere Rahman can be, even though his life story can seem so inaccessible.

The tagline for James Wood’s New Yorker review in the print edition called it “a novel of the global elite,” which is true in the sense that pretty much every character is in a position of power, and perhaps all save Zafar from privileged backgrounds as well. But Zafar’s inability to ever find comfort in that elite is the novel’s driving force, the source of his eternal foreignness. Even as he becomes fully conversant in its language and customs and courts a woman who is its ideal, alienation and disgust always simmers beneath. Zafar is a tortured genius, forever someone from somewhere else, and he can share this story only to the unnamed narrator; despite Zafar’s skepticism of bonds built around mere familiarity and his rejection of free will, he is, ironically, pulled toward another man from the subcontinent.

The bond goes a bit deeper than that, of course: Zafar and the unnamed narrator share a brotherhood born of curiosity, an identity as Oxford men and bankers, and a passion for math. In the cleanness of numbers, Zafar can usually escape the ambiguity that overwhelms his daily life, but even there, it doesn’t quite work, with Kurt Gödel’s Incompleteness Theorem repeated throughout: within any system, there are claims that are true that cannot be proven true.

This is a powerful theme in the novel, with several unique takes on that old Socrates maxim that the wisest man knows that he knows nothing, with greater knowledge only opening up a realization of one’s ignorance. For all of Zafar’s brilliance, he only becomes more and more alienated, and the narrator, while wise not to go quite as far as Zafar in his jadedness, feels many of the same burdens of knowledge. Consider this brilliant turn of phrase: “The faith in having the measure of others really becomes unstuck when you begin to consider how many you’d acknowledge as having the measure of you.” The revelations are often unsettling, and it is not hard to see how circumstances could drive men like these, seemingly so privileged and powerful, into the depths of despair.

For such an erudite novel, it settles into a good pace after some early meanders, and the prose manages to reach a high caliber without being showy. The chapter entitled “The Gospel of St. Thomas” in particular grips the reader, as the details of Zafar’s courtship with Emily Hampton-Wyvern finally come into the light. I especially applaud the decision to eschew quotation marks, a technique that turns dialogue into a sort of meditative trance: the speaker is de-emphasized, and things flow together into a deeper reflection, at times even making us wonder what was really said, and what was merely thought, perhaps in retrospect. (At one point, there’s an explicit mention of this; it also raises the question of how much our narrator—and through him, Rahman—is massaging his depiction of Zafar for his own purposes.) It’s not a tool to be used frequently, but for the tone of Rahman’s novel, it’s ideal.

Readers will likely either love or hate In the Light of What We Know, depending on what they themselves know: how much can we relate to Zafar, a man with such an extraordinary biography? Thankfully, there are a number of ways to approach the enigmatic Bangladeshi raised in Britain, a child of both “a corner of a corner of the world” and Oxford: through lenses of class and race and culture, from intellectual affinity to political or philosophical curiosity. (There was a bit of Zafar leeching into my recent post on the U.S.’s role on the international stage.) Slowly, surely, the bond between the two protagonists emerges as the theme, though its development comes at the expense of the novel’s paper-thin women. For good or ill, they are in a world of their own, along with their author.

There was a time when I probably would have called this the best thing I’ve ever read. The novel’s reach is awesome, that of a social novel raised to the highbrow level; I admire its scope, and a number of lines have been written down to keep. I found some avenues to relate, at times a bit more than I’d like to admit. But now, safely emerged from my phase of overly anxious, morose soul-searching, I can’t help but find it incomplete: telling that narrative about oneself is great, but it’s only a start. To that end, I’ll be very curious to see what Rahman writes next. Now that he’s shed some light on his past, where does he go from here, now that all the self-consciousness is out of the way?

Exit Gabriel García Márquez

18 Apr

“Death really did not matter to him but life did, and therefore the sensation he felt…was not a feeling of fear but of nostalgia.”

—Gabriel Gárcia Márquez on death, One Hundred Years of Solitude

Gabriel García Márquez died at 87 on Thursday, depriving the world of one of its greatest writers. I first met his work as a senior in high school, when I picked up One Hundred Years of Solitude and devoured it in short order. Within a year, I’d started writing my own novel, and in the opening scene, the protagonist had his nose buried in One Hundred Years of Solitude. There was no coincidence in my decision, nor in that of my protagonist.Image

Among foreign critics, it’s normal to cite García Márquez for his portrayal of the “exotic” side of Latin American life. That’s true to an extent, as he wandered far from his home and probably had some appreciation for the apparent absurdities of life in rural, northern Colombia. But we must remember that, for him, these were not unusual and exotic locales: they were home. His hometown of Aracataca gave him fertile ground for writing, sure, and in interviews, he always modestly played down his own inventiveness. Yet García Márquez took a nondescript town in the middle of nowhere, Colombia, and made it into perhaps the widest-reaching allegory in all literature. Out of the little details of his home, out of the vagaries of local history, he created something both timeless and placeless. One Hundred Years of Solitude is a monument to the possibility of literature, one that shows how the novel can tell our stories—many of them at once—in a manner nothing else can match. No wonder I was sucked right in.

Glancing back through the opening lines now, I’m struck most by the simplicity of the writing. It’s not overly verbose—my edition is in Spanish, and I have no trouble with it despite the rather rusty state of my Spanish at the moment—and flows effortlessly into little glimmers of literary play, part silly and part poignant. Sure, there are elements of Hemingway and Faulkner and Borges wrapped up in there, but the voice is so distinctly his own.

It was a voice that came to define a literary movement, and for good or ill, most Latin American fiction since has been in its shadow. It also stirred up its share of political controversy; a number of the metaphors on that front are anything but subtle, and García Márquez added to his legend with his habit for hobnobbing with Latin America’s most powerful leaders. Chief among all of these, of course, was Fidel Castro, a man he counted as a friend, to the extent that Fidel has any friends. García Márquez’s leftism is easy to malign now, though Jon Lee Anderson’s 1999 New Yorker profile (temporarily freed from their paywall) suggests the author abandoned any serious belief in revolutionary Marxism some time ago. He was sympathetic, certainly, but he maintained his ties because he was still a reporter above all else, trying to get to the heart of the story, perhaps so as to ultimately have the final word. But once again Castro has outlived one of his more prominent contemporaries, and perhaps the only one who could have given his biography justice. However serious his political views, and however much we might judge them, García Márquez’s best works transcended political consideration and spared no one.

Life did indeed matter to García Márquez, and his work is infused with nostalgia. It is a collection of histories, from his parents’ romance in Love in the Time of Cholera to his exposure of long covered-up massacres of striking banana-pickers by the United Fruit Company in One Hundred Years of Solitude. The stories are personal, and that provides an added dose of care, despite his frequent use of the gruesome and the macabre. Perhaps that is why, despite his dark and often grisly works, despite the failure of his political views to gain much traction, he remained a genial optimist. He lived richly, and that wealth is evident in his prose. He had a strong memory and was willing to probe its depths with neither adulation nor disdain, but with an entirely different attitude: the world was his plaything, both in its triumphs and its absurdities, and the fruits of his delight will long endure. And while nothing I write will ever endure in that way, I do hope that, so long as I have life, I can share in that nostalgia-tinged wealth.

Of all of the ink spilled in remembering García Márquez, the best thing I’ve come across so far is this essay by Edwidge Danticat. As usual, the Spanish language Nexos magazine is delivering some quality content as well. If I find more good reflections, I’ll add links here.

Image credit: http://www.cbc.ca/news/arts/gabriel-garcia-marquez-suffering-from-dementia-says-brother-1.1284018

Why We Travel

9 Feb

As I mentioned a few weeks ago, my winter reading in Duluth often involves adventure stories set in places that are not currently buried in snow. As this winter has been a particularly harsh one, my impulse for vicarious travel has only grown stronger. And so the three works of non-fiction I’ve read over the past month (plus a work of fiction, though I’ll leave that out for now) take place nowhere near an iced-over Lake Superior.

The first book was The Lost City of Z by David Grann, and it’s the sort of book that made me think I was born a hundred years too late. It’s the story of a British explorer who fulfills many of my childhood fantasies in his explorations of the Amazon for the Royal Geographic Society. It was an era of glamour in mapping and exploration, with genteel Brits trotting about the globe to its empty spaces and painstakingly mapping them, risking life and limb to do ethnographies on previously uncontacted tribes. Nowadays, geographers sit fly over things in planes or around in front of computers, and we’re rather lacking in untouched earthly frontiers. Even as we read the words, it’s hard to process the fact that it isn’t one great big romantic adventure: the hero of the book, Colonel Percy H. Fawcett, became consumed by his search for the mythical city of Z, and vanished without a trace into the jungle. We all want to be adventurers, but we also want to be the ones who came back, and it would be nice if we got a book deal out of it, too.

Next, I read a book by the closest thing to a modern-day Fawcett out there: Shadow of the Silk Road, a mid-00s travelogue by Colin Thubron, a Brit who set out to trace the old trade route from China west to the shores of the Mediterranean. It is perhaps the best travel book I’ve ever read, beautifully crafted and overflowing with sharp insights about the people the author meets on his adventures through Central Asia. Like his predecessors, Thubron aims to see the world as it is, but for entirely different reasons: he has no aspersions of fame and riches, nor does he see himself as the vanguard of the civilized world, venturing into the backlands to establish contact and pave the way for future discovery (or perhaps colonization). While there are a few moments of self-examination, with Thubron speaking to an imagined Sythian trader trying to understand why he has undertaken his journey, his story takes a back seat to his exquisite observation skills.

And so his readers are given windows into the souls of the nations he visits. Central China, modernized in stunning fashion over the previous two decades, with questions emerging as to what comes next. The ethnic Uighur Chinese province of Xinjiang, its people clinging to a fading identity as waves of Han Chinese migrants pour in, with only a few outposts of culture left. The former Soviet Stans, populated by people without a history, their ethnicity invented by the Soviets and new national myths manufactured to hold it all together, uniting all on the surface but failing to pull at the nomadic core beneath. Afghanistan, crippled by war, thus rendered even more fractured and tribal. The Iranians, so fearful of Western smut yet disdainful of their authoritarian regime, the myths of the mullahs long dead. The Kurds, brashly proclaiming their identity at one moment, but beaten into submission when among their Turkish overlords. In the end, Thubron finally comes to the Mediterranean coast near Antioch, alone, and his return to the West is no homecoming: instead, the dark clouds remind him only of his restlessness, his reality as a wandering soul unable to find home in any single place. He can dabble in any place, visit old friends in China or Uzbekistan, share in a delightful night of vodka and yogurt in Kyrgyzstan, but he is still some other, forever the solitary soul on his lonely path.

The lonely path is a theme in my last book as well, A Walk in the Woods by Bill Bryson. Bryson’s infectious humor dominates every page, and as an out-of-shape recent returnee to the United States, he’s among the least likely hikers of the Appalachian Trail. Yet he endures long marches up and down mountains through brutal weather, mocking his fellow hikers and Americans in general with his delicious snark. He celebrates the environment preserved along the route, yet maintains a certain distance from the solitude of the Trail, and he captures the contradictory relationship so many wilderness adventurers have with their surroundings. I can relate completely. I go hiking or canoeing just about every summer, and the actual experience usually involves a lot of grumbling about why we’re abandoning our comfy beds to exert ourselves and do all these chores in the woods. I’ll admit it, I’m hardly an outdoorsman; my trips are rarely more than a long weekend, and I possess an unfortunate talent for staying awake all night for no good reason when sequestered in a tent. But yet, somehow, the trips are always a delight in retrospect, and memories of blissful afternoons in a hammock or staring at the stars through a tent screen always overpower those of the sleepless nights.

That’s how travel works. Every now and then, we have moments where we become truly aware of our surroundings—moments when we realize that This Is Water—but for the most part, our perceptions of things are either formed in anticipation or in memory, not in the moment. I’ve read that the process of planning a trip is often more pleasurable than the trip itself; it’s the idea of what is going to happen that captures our minds. After the trip is over, our memories pull out the most distinct moments and give them extra meaning. That’s what makes travel so powerful, for good or ill: it is so obviously a break from the monotony of daily life that it can’t help but be significant, especially for those of us whose minds are often racing into the future or lingering on the past.

There’s an underlying theme in all of these books: a sense of loss, a fear that these places are slowly being stripped of their novelty. Fawcett-esque adventurers would be laughable nowadays, and much of the Amazon he once explored is now open farmland. Thubron watches any number of people try to square their past with the march of modernity and development, whether in Chinese or Western form; most everyone thinks something is being lost, but the material gains are so great and often so necessary that no one is going to stop the process. Despite his love-hate relationship with the wilderness, Bryson fears its destruction at every turn, and is careful to educate his readers about environmental policy decisions on and around the Appalachian Trail. On the most basic level, they all fear the same thing: sameness. They worry that the world will lose some of those contours that interrupt an often numbing plain, a repetition of events that one cannot rise above—or sink below—in order to gain perspective.

That perspective is essential, and it’s why I’ll continue to go on journeys, either on my own or through the words of other people. Some journeys must be undertaken alone, and no two travel companions will come away from an adventure with the exact same conclusions. As the old cliché goes, life is a journey, and there is freedom and power to be found in taking up the mantel of the adventurer: one sets one’s own pace, keeps a record of the sights, and charts a course through the unknown.

It isn’t that easy, though. The best example of that might come from one of the most famous adventurers of all time, Don Quixote. The popular image of Don Quixote celebrates him as a knight errant, boldly going off and chasing the impossible dream. It’s admirable, to an extent. But at the end of the book, the protagonist comes home from his journey, and concedes that he never was the hero he claimed to be. We can only invent so much, and if travel becomes routine, then it too becomes a lie, a false reality from which we cannot see the contours. Life is not a progression from point A to point B; it is a cycle, in and out, forward and back, requiring both spontaneity in the moment and the cold remove of distance. This is why travel stories make such good books: they allow for plenty of both. But it can’t all be vicarious. We need to go live it too, if only for a little while. That little spark makes all the difference.

Mario Vargas Llosa on Literature

7 Jul

From the 2010 Nobel Prize acceptance address delivered by the Peruvian novelist and erstwhile presidential candidate:

Literature is a false representation of life that nevertheless helps us to understand life better, to orient ourselves in the labyrinth where we are born, pass by, and die. It compensates for the reverses and frustrations real life inflicts on us, and because of it we can decipher, at least partially, the hieroglyphic that existence tends to be for the great majority of human beings, principally those of us who generate more doubts than certainties and confess our perplexity before subjects like transcendence, individual and collective destiny, the soul, the sense or senselessness of history, the to and fro of rational knowledge.

I have always been fascinated to imagine the uncertain circumstance in which our ancestors – still barely different from animals, the language that allowed them to communicate with one another just recently born – in caves, around fires, on nights seething with the menace of lightning bolts, thunder claps, and growling beasts, began to invent and tell stories. That was the crucial moment in our destiny, because in those circles of primitive beings held by the voice and fantasy of the storyteller, civilization began, the long passage that gradually would humanize us and lead us to invent the autonomous individual, then disengage him from the tribe, devise science, the arts, law, freedom, and to scrutinize the innermost recesses of nature, the human body, space, and travel to the stars. Those tales, fables, myths, legends that resounded for the first time like new music before listeners intimidated by the mysteries and perils of a world where everything was unknown and dangerous, must have been a cool bath, a quiet pool for those spirits always on the alert, for whom existing meant barely eating, taking shelter from the elements, killing, and fornicating. From the time they began to dream collectively, to share their dreams, instigated by storytellers, they ceased to be tied to the treadmill of survival, a vortex of brutalizing tasks, and their life became dream, pleasure, fantasy, and a revolutionary plan: to break out of confinement and change and improve, a struggle to appease the desires and ambitions that stirred imagined lives in them, and the curiosity to clear away the mysteries that filled their surroundings.

This never-interrupted process was enriched when writing was born and stories, in addition to being heard, could be read, achieving the permanence literature confers on them. That is why this must be repeated incessantly until new generations are convinced of it: fiction is more than an entertainment, more than an intellectual exercise that sharpens one’s sensibility and awakens a critical spirit. It is an absolute necessity so that civilization continues to exist, renewing and preserving in us the best of what is human. So that we do not retreat into the savagery of isolation and life is not reduced to the pragmatism of specialists who see things profoundly but ignore what surrounds, precedes, and continues those things. So that we do not move from having the machines we invent serve us to being their servants and slaves. And because a world without literature would be a world without desires or ideals or irreverence, a world of automatons deprived of what makes the human being really human: the capacity to move out of oneself and into another, into others, modeled with the clay of our dreams.

From the cave to the skyscraper, from the club to weapons of mass destruction, from the tautological life of the tribe to the era of globalization, the fictions of literature have multiplied human experiences, preventing us from succumbing to lethargy, self-absorption, resignation. Nothing has sown so much disquiet, so disturbed our imagination and our desires as the life of lies we add, thanks to literature, to the one we have, so we can be protagonists in the great adventures, the great passions real life will never give us. The lies of literature become truths through us, the readers transformed, infected with longings and, through the fault of fiction, permanently questioning a mediocre reality. Sorcery, when literature offers us the hope of having what we do not have, being what we are not, acceding to that impossible existence where like pagan gods we feel mortal and eternal at the same time, that introduces into our spirits non-conformity and rebellion, which are behind all the heroic deeds that have contributed to the reduction of violence in human relationships. Reducing violence, not ending it. Because ours will always be, fortunately, an unfinished story. That is why we have to continue dreaming, reading, and writing, the most effective way we have found to alleviate our mortal condition, to defeat the corrosion of time, and to transform the impossible into possibility.

The Reading List

3 May

I have been lax in blogging, so it’s time to get back into the game. What follows is a list of some of the works that have most profoundly affected me over the years. I’m sure I’m forgetting a few things that I probably shouldn’t, but here you go: 

Don Quixote by Miguel de Cervantes. Some classics can be dry, certainly, but some immediately reveal why they have endured for centuries, and deserve to endure for many more. Few works are more universally applicable to most any situation, and often in ways that conflict with the popular image of the title character, thanks to Cervantes’ sharp wit. I had the added benefit of taking an entire college course on this one that was taught by a brilliant professor, which probably helped me see a few more things than I would have if I’d picked it up on my own.

David Foster Wallace’s 2005 commencement address at Kenyon College. With graduation season upon us, I’ll be writing a longer post about this one in the coming weeks.

Cry, the Beloved Country by Alan Paton and One Hundred Years of Solitude by Gabriel García Márquez. I read both of these in high school and haven’t really touched them since, so I’m not sure if they’d have the same impact today. The styles are radically different–one is a lyrical and very real story of racial tension and forgiveness in South Africa, while the other is a punchy work with absurd layers of allegory, but both did a lot to expand my consciousness about the world around me.

The Labyrinth of Solitude by Octavio Paz. What is it about Latin American writers and solitude? At any rate, this book is best known for its exploration of the Mexican identity, but I though it was at its more profound in the later chapters, when it opens up in an even deeper meditation on human nature. On the intellectual side of the ledger, this was my most rewarding discovery during the semester I spent in Mexico City as an undergraduate.

The Bill James 1984 Baseball Abstract. Yes, seriously. As it is, Bill James is (with apologies to Roger Angell) the most insightful baseball writer out there, and there are plenty of bits of brilliance about the game. But this is more than a baseball book; it is a book about how to think about things on different planes, and for a young sports fan, it presented its ideas in a way that was clear and easy to apply to a real-world scenario. I revisit parts of it time and time again.

Honorable mentions: Freedom and “Farther Away” (a New Yorker essay) by Jonathan Franzen; Mario Vargas Llosa’s 2010 Nobel Prize acceptance speech; the New Yorker‘s collection of reflection essays on 9/11 (most notably, Roger Angell’s); “Leaving Washington” by Patrick Deneen; The Great Gatsby by F. Scott Fitzgerald (I’m curious to see the new movie version); The Catcher in the Rye by J.D. Salinger; Eichmann in Jerusalem by Hannah Arendt; and Hopscotch by Julio Cortázar. I’ll also throw in the “Harry Potter” series; I know it’s not great literature, but I did grow up with the books and draw certain insights out of them, so they deserve to be acknowledged.

I grew up generally indifferent as to whether books were considered classics or not, but I’ve been finding those so-called canonical works more and more relevant of late. For example, I read The Odyssey when I was fairly young, and though I enjoyed it, only in the past few years have I come to appreciate how far it reaches. I read War and Peace when I was way too young to get most of it–it was more so I could be That Kid who read War and Peace in 6th grade–and have not gone back to it yet, but from what I gather in reading about it since, I’m guessing I would really like it. Some day. It’s a similar story with The Bible. I was not raised within the Christian tradition, and I think that let me have some critical distance from it; as a result, I have only ever found it richly layered and compelling, and I think most intelligent readers should be able to appreciate its merits, even if they don’t believe it. Classics often get dismissed these days as stuffy or unrelated to contemporary life, and while many have their limits (what doesn’t?) and certain works are not for the faint of heart, tackling them with the right mindset can be very rewarding. I’d advocate for a healthy balance between past wisdom and present insight, but there’s little point in forcing oneself to read something that one does not want to read, and one never knows where one might stumble across the most relevant works.

That should do for my list, at least until I wake up in the middle of the night and think, “how could I forget Book X?!” Feel free to share your own in the comments.