Why do I like Paul Auster’s Moon Palace so much?

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(This is not the eagerly anticipated 3pm weekly post, but something I wrote in January and meant to turn into a long long piece before publishing. Think of it as your pre 3pm entree, but don’t get put off because it probably will mean little unless you’ve read any of Auster.)

The youthful quest for identity and meaning is literalised into the quest for survival and in doing so perhaps it resonates with my own romantic visions of being young and feeling alone in the world. The threat of starvation, living in a cave in Central Park, surviving by selling off secondhand books, the determination to do nothing all to save oneself – all exaggerated literalisations of my own early twenties, of being a student and then being unemployed for a time.

In relying on co-incidences as a major plot device and drawing meaning from parallels and intersections, Moon Palace seems to offer a fresh way of making sense of the world. Every narrative reduces the complexity of the world to a narrative logic of some order and coherence, but it’s the freshness of Auster which shines so brightly in this novel. Life seems full of the leaps and co-incidences and intersections out of which M.S. Fogg makes sense of life.

I love the way M.S. and Effing both give life meaning by setting themselves crazy projects. M.S. reading every book of Uncle Victor’s and in this way paying tribute to Victor’s life. Effing giving away to strangers the stolen money he found decades earlier. M.S. and Sol setting out to find the cave Effing hid in. I think reading this and echoes in other Auster’s works gave me a similar tendency from 2001 onwards.

Subscriptions made easier

Sorry, this is just a maintenance announcement (and one duplicated from my other blog at that). But a potentially helpful one!

I’ve just added two subscription buttons that if you’re observant you might have already noticed in the right hand column.  You can now get new posts sent to your email inbox or to your RSS feed aggregator. (If you don’t know what the latter is, you should probably go for the former.)

PS: the new post is coming at 3pm. This isn’t it. It’s a much longer, more interesting one.

[Thursday 3pm #1] The tide of books

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Saturday is the annual booksale for the seminary where I work. So this post starts out as an ad to try to get you along, but will turn into a reflection on books.

First the ad: 20 000 books on every subject, from 9am to 2pm at Vose Seminary, 20 Hayman Rd, Bentley, Western Australia. If you miss out on the big day, come along during business hours Monday to Friday until the 24 April and we’ll be selling the left overs.

Now the reflection. Working as a librarian and helping on the booksale, books, paradoxically, begin to lose their value. When boxes and boxes of books are donated every week, their physicality begins to get overwhelming. They become bulky, heavy objects, rather than the miracles of thought and language which they truly are. The physical problem of storing and handling thousands of books risks making me forget the respect I feel for each (or at least many) of those books.

Books were appreciated fully when they were hand copied scrolls, each copy representing hundreds of hours of labour – the production of the book echoed the writing of it. But mass production, the volume of books in the world today, the cheap paperbacks, they make books too common, too easy.

(I don’t actually want to roll back the clock to medieval times. It’s great that people no longer have to be rich to afford books. But this advance does come at a cost. And I am provoking myself and my readers to re-value books, to not let the miracle of books be diluted by their proliferation.)

The other problem is the tide of unworthy books which flood secondhand sales. Most bestsellers are fads, and fads fade, washing up on the shore thousands of copies of books which, now that the hysteria has passed, are recognised to be insubstantial . Alas, no books seem more unworthy than discarded popular Christian fads – anyone for a hundred copies of Left Behind or the Prayer of Jabez? (Secular books aren’t so far behind; imagine how many copies of The Da Vinci Code are already choking op shops around the world.)

I always find myself frustrated at people’s book buying habits: I want to ask people, ‘Why did you jump on that bandwagon? Couldn’t you see how crap that was without buying it? Thousands of years of books and you have to just go for the very latest thing, as if books were newspapers?’

But if people didn’t do this, if people showed what I regard as good taste, I wouldn’t have any reason to fool myself into feeling culturally superior.

I realise I haven’t expressed any of the joy I feel about being surrounded by so many books in my job. I love the quaintness of secondhand books, the moments in time captured just in the covers of even many of the worst books. I was looking at a delightfully camp book called ‘The Adventure of Stamps’ from the 1950s yesterday, with an Enid Blyton style drawing on the cover of three private effeminate school boys engrossed in a stamp album. I love the way old books make me feel like a time traveller, because someone in 1973 or 1904 was handling this precise book, with the same words and, besides some physical deterioration, the same appearance. It’s as if everything in between might not have happened.

Going regular

Deadlines are good things. And so is being regular.

So from now on, this blog will be updated every Thursday at 3pm WST (+8 GMT). (There may be additional posts through the week, but there will be at the minimum a post at this time.)

Some of these posts, I can just imagine now, will be short. But it is my aim to never waste your time, dear reader.

“I was here too”

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I have tried in the past to express what Julian Barnes expresses so well in this quote from his memoir Nothing to be frightened of. (I’m reading it at the moment, a healthy way to deal with my fear of death – reading about the fear of death.)

Those proud lines of Gautier’s I was once so attached to – everything passes except art in its robustness; kings die, but sovereign poetry lasts longer than bronze – now read as adolescent consolation. Tastes change; truth become cliches; whole art forms disappear. Even the greatest art’s triumph over death is risibly temporary. A novelist might hope for another generation of readers – two or three if lucky – which may feel like a scorning of death; but it’s really just scratching on the wall of the condemned cell. We do it to say: I was here too.
(205)

Adding vanity to folly

No-one has to see your failures unless you add vanity to folly and exhibit them. Genius consists not only of the power to create expressive beats and scenes, but of the taste, judgement, and will to weed out and destroy banalities, conceits, false notes and lies.

– Robert McKee, Story, 78.

I don’t think Robert McKee would have a blog. Or show anyone his drafts.

On turning 28: a ramble

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She calls me the Birthday Nazi because I always expect too much of birthdays. I remember when I was seven I thought it so unfair that a girl called Courtney got made to write lines on her birthday. We should be immune from getting into trouble on our birthdays. Our spouses should have unlimited patience. Our bosses should show inexhaustible generosity. The cars on the road should slow down and let us through.

I have a tradition of seeing films on my birthday. I haven’t done it every year and nor can I remember each one. But I can remember most of them. In 1999, it was Shakespeare in Love. In 2000, American Beauty for the second time. (How appropriate, then, that this year I’m going to see Sam Mendes’ latest film.) In 2002, Iris. In 2003, perhaps it was at the Adelaide Nova Cinema, the one about the nurse who believes the comatose patient loves him and he rapes her. Two birthdays in Adelaide – 2008, I was at the Adelaide Writers’ Festival for my birthday and saw (in the absence of much choice) Valley of Elah. 2006, Capote. 2007, anomalously on video at home, Kiss or Kill.

For years now I’ve felt so old. I guess I am pessimistic about the chances of my thirties being nearly as fun as my twenties. So much responsibility. How can I embrace responsibility? What are its rewards? I thought responsibility would make me feel authentic. It does not. (And I fear responsibility is a code word for compromise with the world. Perhaps the real problem is I still have the values of a 22 year old dissident while living the life of an old married man.)

Death used to be so far away, such a remote possibility. But the last few years it’s come to live in my soul, something near, whispering its certainty all day. I cultivate it, I was checking the recent deaths page on Wikipedia every day for a while. I’ve stopped doing that. I only check it a couple of times a month now.

The book shop : like the immense bar code of some key to all mythologies

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Halfway through, I  am entranced by Gail Jones’s Dreams of Speaking. Take this passage about a bookshop:

Arriving at the bookshop, Alice browsed without pleasure. The books conveyed both intimidation and overabundant presence. They lined up like the immense bar code of some key to all mythologies. There were new novels, in hardback, with expressionistic covers and virtuosic claims, and colourful paperbacks, each announcing a superior, unmatched talent. Tables sagged under so many new-minted words. So many leaves of meaning, so many sentences, strung together, in immoderately shiny covers. After slow deliberation, Alice bought a volume of Henry James’s Portrait of a Lady. Although she had read it before, she felt it was a choice-against-disappointment…
(p. 81)

Strangely enough, I abandoned Henry James’s The Ambassadors for her book. One day perhaps I’ll have the patience, the sharpness of mind to untangle James, to keep him afloat in my mind. I do not in any way deny his genius.

Back to Jones’s passage. I find the weight of new books published overwhelming (the pressure to keep up? I don’t even pretend). And this passage captures some of that experience for me. And then there’s that experience of going back to a book I know when I’m in a bad reading patch.

Between you and me : a review

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Between you and me / By Amber Fresh (2009)

Let me tell you a secret: the last six years I’ve found it hard to enjoy poetry. Something changed in my brain sometime around 2003. But then there’s collections like this one that remind me how good poetry can be.

Amber is a Perth poet and this small collection evokes a certain scene in Perth so well, of poetry readings, of enduring a session at the Ocean Beach Hotel, of twenty and thirtysomething parties, of Coles carparks and of the inner suburbs.

Her poems have a casual, insightful humour which manages, paradoxically, to also be passionate and intense. Thus in ‘Casual as’:

While you were at the bar
trying to organise some
casual sex
I was in my room
writing a melancholy song for you
and drawing a comic about how we met

But that’s because
I didn’t know then
that you were at a bar
making other arrangements

That phrase ‘making other arrangements’ gets me every time I read it – such a brilliant piece of sarcasm and so terribly sad, using that rather old fashioned phrase to devastating effect.

These poems show an ability to express states of mind and stray, strange thoughts that I believed no-one else knew about it. Thus in ‘Did you do it’:

i hit myself in the face
to see what it would feel like

it felt like

did you do it?

Two poems deal in a fascinating way with faith; in “1 Corinthians 6:18”, the Holy Spirit is compared to ‘an X-men girl/ who turns boys to dust/ with a touch of her hand’. It’s an earnest, distinctive take on evangelical experience. In “Jesus is my homeboy”, the poet hears God tells her to take her doona to some people who will need it ‘on the corner of aberdeen and station street’. It’s a poem of quiet faith that doesn’t lose its sense of humour just because it’s talking about God.

The collection hangs together so well. I was left at the end feeling like I’d read a short novel, that I’d experienced a season in the poet’s life. It was a season that felt a bit like the film You and me and everyone we know, with that same quirky take on big questions, a bit like Leunig’s cartoons, and a bit like (I’m not sure why this came into my head) Leonard Cohen’s novel Favourite Game.

You can buy the book at Oxford Books in Leederville (I’m told it’s on the counter) or from Amber herself – amberinparis@hotmail.com. It costs around $15 plus postage.