Search Results for: Review

The Early Principles That Guided the Makers of LEGO

Legos in space

In his 2013 book, Brick by Brick: How LEGO Rewrote the Rules of Innovation and Conquered the Global Toy Industry, David Robertson outlines the early successes and failures of the Denmark-based LEGO Group — from their early experiments with plastic, to their decision in the late 1990s to finally strike licensing deals with movies and characters, starting with Star Wars.

Robertson describes a pivotal moment in the company’s history, when Godtfred Kirk Christiansen, the son of founder Ole Kirk Christiansen, met up with a toy buyer: Read more…

Writing Our America

Illustration by: Kjell Reigstad

Scott Korb | Longreads | February 2017 | 32 minutes (8,200 words)

 

The following essay is adapted from a talk presented at Pacific University’s MFA in Writing Program. It includes advice from writers of “YA fiction, writers for television and stage, of novels and essays, investigative journalism, and criticism” on how we might produce meaningful work in the next four years.

* * *

I often teach a piece of writing by David Foster Wallace, included originally as the introduction to the 2007 edition of The Best American Essays. He called the piece “Deciderization—2007,” a title that jabbed at the then-current president, George W. Bush, who, in the midst of his second term—in the midst of the Iraq war, which as fought had been lost—reminded the country during a press conference insisting he would not fire Donald Rumsfeld, whom he would later fire, that he, George W. Bush, was “The Decider.”

The moment seems far away now, but Bush’s choice of words here, it was said at the time, “struck the national funny bone.” Writing in the New York Times, Sheryl Gay Stolberg said,

On the Internet, it was memorialized to the tune of “I am the Walrus,” by the Beatles. (“I am me and Rummy’s he. Iraq is free and we are all together.”) On late-night television, the Decider emerged as a comic-book hero, courtesy of Jon Stewart, host of “The Daily Show.”

In other words, in making fun of Bush, Wallace was not alone and, as he was well aware, was far from the most high-profile or widely observed jabber. Opening the book’s introduction, he wrote, “I think it’s unlikely that anyone is reading this as an introduction.”

Most of the people I know treat Best American anthologies like Whitman Samplers. They skip around, pick and choose. There isn’t the same kind of linear commitment as in a regular book. … There’s a kind of triage. The guest editor’s intro is last, if at all.

This sense of being last or least likely confers its own freedoms.

When I’ve taught his introduction before I’ve tended to highlight how Wallace considers and reconsiders the essay form itself—“one constituent of the truth about the front cover,” he writes, “is that your guest editor isn’t sure what an essay even is.” This confusion is fun in a way that Wallace is often fun. It does what this particular writer tends to do—puts his own subjectivity front and center in an effort to pull a rug out from under us. What do you mean you don’t know what an essay even is?

Continuing on, Wallace then addresses his lack of both confidence and concern with the distinctions between fiction and nonfiction—more fun for us—only to change course a moment later, explaining that he does care about such differences, but conceding that they’re “hard to talk about in a way that someone who doesn’t try to write both fiction and nonfiction will understand.” At which point he dives into the part of the essay I’ve always been most interested in talking about with writing students, who tend—as I am—to be interested in how to do what writers are trying to do. What is writing supposed to feel like?

Writing-wise, fiction is scarier, but nonfiction is harder—because nonfiction’s based in reality, and today’s felt reality is overwhelmingly, circuit-blowingly huge and complex. Whereas fiction comes out of nothing. Actually, so wait: the truth is that both genres are scary; both feel like they’re executed on tightropes, over abysses—it’s the abysses that are different. Fiction’s abyss is silence, nada. Whereas nonfiction’s abyss is Total Noise, the seething static of every particular thing and experience, and one’s total freedom of infinite choice about what to choose to attend to and represent and connect, and how, and why, etc.

The intergenre debates that go on in our culture have been a great pleasure to me over the years. I like what journalist Jeff Sharlet says on the point: “Fiction’s first move is imagination; nonfiction’s is perception.” And to be sure, I’m always delighted to hear from someone about the abyss under poetry’s tightrope. Read more…

A Shot in the Arm

Illustration by: Kjell Reigstad

Josh Roiland | Longreads | February 2017 | 14 minutes (3,710 words)

 

“Who’s sticking today?” the man asked.

He wore tan work boots and rough jeans. He told a friend in the waiting room that he had a couple hours off work and thought he’d stop in for some extra cash. The receptionist told him the names of that day’s phlebotomists. He paused. Sliding a 16-gauge needle into someone’s arm is tricky, and the man reconsidered. Instead of signing in, he announced to the room that he’d come back tomorrow and try his luck.

I’d driven 107 miles from my home in Bangor, Maine to the BPL Plasma Center in Lewiston to collect $50 for having my arm punctured and a liter of my plasma sucked out. The actual donation takes about 35 minutes, but the drive and its attendant wait makes for an eight-hour day. I clocked in for that trip five times this summer.

I’m a professor at the University of Maine. My salary is $52,000, and I am a year away from tenure. But like everyone else in that room, I was desperate for money. Read more…

But What’s IT All About?: How We Forgot the Murderous Clown

Pennywise's House: image by Freaktography (CC BY-NC-ND 2.0).

Adrian Daub’s fascinating essay in the LA Review of Books on the Stephen King classic IT — now 30 years old — reveals that the real horror of IT wasn’t Pennywise the supernatural clown, but our own, entirely human ability to forget the horrors of the past.

I realize now that I can’t even remember when I finally picked up one of these errant copies of It and started reading. But perhaps that’s a strangely appropriate mode of reception for a horror novel that reserves its greatest terror for the vagaries of memory. It features relatively little of the kind of horror that has protagonists shining their flashlights into dark corners to face unseen abominations. Instead, it dwells on the horror of having lived with something terrifying all along, of having become blind and numb to it. It strikes me only now, rereading the book decades later in English, that there’s something distinctively American about the pervasive, dreamlike fog of amnesia that envelops the town of Derry, Maine, in King’s novel. Not for nothing does It make its home in the town’s sewers; as one character puts it: “Nobody knows where all the damned sewers and drains go, or why. When they work, nobody cares.”

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What’s Left at the Bottom of Pandora’s Box

Writer Dale Maharidge and photographer Matt Black traveled through California, Ohio, and Maine, talking with, working alongside, and photo-documenting the working poor for Smithsonian magazine. They found lots of things they expected — long hours, low pay, financial uncertainty — and one thing they didn’t: hope.

Brown earns less than his wife, who is an administrative assistant and show coordinator for a software engineering firm. On paper, he said, their combined income might make it appear that they’re doing fine. But then there are the bills.

The biggest ones?

“Mortgage and tuition,” Brown said, which amount to some $17,000 per year. “My stepson is in junior high school,” Brown explained. “He’s in a private school because our public school is garbage. That costs $8,000. You got to walk a fine line growing up black and poor. An education is an important thing. If we want to break the cycle, that’s where it starts, right there.”

As for the other expenses, food runs “three to four hundred a month.” The couple has one car, with a $350 monthly payment. Brown usually takes the bus to the Evergreen Laundry to start his 4 a.m. to 2 p.m. shift. They live paycheck to paycheck. “Save? I’m using everything I got to keep my head above water. It’s still always a struggle. I still ain’t made it where I don’t have to worry.”

I asked, Are you poor?

“I used to be poor. Poorness to me is you’re in a position to do things you don’t want to do,” he said, such as selling crack. “I might not make a lot of money, but I’ve got a job, I got a family, and I don’t have to be lookin’ over my shoulder. From where I come from, it’s night and day. What I’ve got that I didn’t have is hope.”

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“I Would Prefer Not To.”

Herman Melville, image in the public domain.

Judith Levine, co-founder of the National Writers Union, writes in the Boston Review on how an 1853 Herman Melville novella might be the key to contemporary political resistance:

No respect for pencil pushers? Get over it. America’s army of bureaucrats, who number over 750,000 in federal agencies alone, may now be the bulwark between totalitarian plutocracy and constitutional democracy. Imagine if civil servants, from secretaries to social workers to scientists—to police—refused to cooperate? Call it the Bartleby Strategy. Its rallying cry: “I would prefer not to.”

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Robert Caro on Understanding a President Through the Rooms He Occupied

Photo: AP Images

There are facts in journalism, but there are other truths hidden in the room. In this 2016 Paris Review interview with James Santel, Robert Caro, Pulitzer Prize-winning author of The Power Broker and The Years of Lyndon Johnson, gives a masterclass on how to report on a subject’s behavior, his environment, his breath, and the cushiness of his couch:

There is no one truth, but there are an awful lot of objective facts. The more facts you get, the more facts you collect, the closer you come to whatever truth there is. The base of biography has to be facts.

That’s especially true when it comes to describing Johnson, whom I met only once, only very briefly. With Johnson, if you went around on my interviews with me, in every interview probably, I’m asking—let’s say Joe Califano, one of Johnson’s aides—So if I were standing next to you in this scene in the Oval Office, Joe, what would I see? They never understand. They kind of hesitate—they don’t know what I mean. And I would say, Was he sitting behind the desk or was he getting up to walk around? And they might say—and this actually happened—Well, he jumped up from that desk all the time because he had the wire tickers over there. He had these three wire tickers, and he’d go over to them every few minutes to look.

So I would ask, But what were you seeing? How would he look at the wire tickers?

“Well, you know, it was interesting, it was like he couldn’t wait for the next lines to come, so he’d open the lid, and he’d grab the paper with two hands, as if he was trying to pull it out of the machine.”

So you keep saying, What would I see? Sometimes these people get ­angry because I’m asking the same question over and over again.

If you just keep doing it, it’s amazing what comes out of people. Eventually, a lot of people tell you about his bad breath. And the couches—if he wanted something from you in the Senate cloakroom, Johnson would take you over to sit on the couches. So I’d ask, What was it like sitting on those couches? And people would say something like, He’d be towering over you, leaning over you.

Read the interview

Further reading:

A Reading List Inspired by the Seven Deadly Sins

Photo: Chris

I used the seven deadly sins–lust, gluttony, envy, greed, sloth, pride, and anger — as the springboard for choosing these stories.

1. LUST: “Eileen Myles on the Excruciating Pain of Waiting for Love.” (Eileen Myles, The Cut, February 2016)

Poet and novelist Eileen Myles muses on a summer fling that should’ve lasted forever.

2. GLUTTONY: “Hunger Makes Me.” (Jess Zimmerman, Hazlitt, July 2016)

Jess Zimmerman writes eloquently on the subject of emotional labor, and “Hunger Makes Me” connects the twin suppressions of women’s physical and emotional appetites.

3. ENVY: “Tan Lines.” (Durga Chew-Bose, Matter, August 2015)

Lucky for us, Durga Chew-Bose’s essay collection, Too Much and Not the Mood (not “not IN the mood,” as many 2017 book previews have miswritten), debuts in April. Here, Chew-Bose meditates on her heritage and the double standard of the white obsession with tanning.

4. PRIDE: “Southern Fried Pride: What Hattiesburg’s First Pride Means in the Deep South.” (Jasmine Beach-Ferrara, Medium, August 2016)

In the parlance of sinning, pride is associated with selfishness, narcissism, and vanity (i.e., our current presidential administration). Instead, I wanted to feature self-love and self-confidence, a kind of pride that isn’t evil in the slightest, as well as a reminder that it’s 2017 and bigots still protest against LGBTQ people (and not just in the American South).

5. GREED: “A Tyrannosaur of One’s Own.” (Laurie Gwen Shapiro, Aeon, January 2016)

Are private fossil collections a disservice to the scientific community?

6. ANGER: “She Mad and She Magic.” (Muna Mire, The New Inquiry, August 2015)

An insightful review of Michele Wallace’s groundbreaking text, Black Macho and the Myth of the Superwomanrecently reissued by Verso Books. Muna Mire examines the book’s controversial reception in 1979 and its contemporary resonance, concluding, “Black Macho may have been inconvenient; it may not have been careful. But it was a necessary push forward. Getting angry works for Black women — it gets results and keeps us alive.”

7. SLOTH: “Fuck Work.” (James Livingston, Aeon, November 2016)

“Fuck Work” sounds blunt, until you learn James Livingston is the author of a book called No More Work: Why Full Employment is a Bad Idea. Livingston critiques our capitalist obsession with productivity and defining our self-worth via our work ethic, because full employment doesn’t insure quality of life. He asks,

“How do you make a living without a job – can you receive income without working for it? Is it possible, to begin with and then, the hard part, is it ethical? If you were raised to believe that work is the index of your value to society – as most of us were – would it feel like cheating to get something for nothing?”

Xenu’s Paradox: The Fiction of L. Ron Hubbard and the Making of Scientology

Illustration by Pat Barrett

Alec Nevala-Lee | Longreads | February 2017 | 28 minutes (7,744 words)

 

I.

L. Ron Hubbard published over four million words of fiction in his lifetime, but his most famous story consists of just a few handwritten pages. Before their contents were leaked in the early ’70s, they could be viewed at the Advanced Organization Building of the Church of Scientology, a hulking blue edifice off Sunset Boulevard where visitors were handed a manila envelope to open in a private room. Most had paid thousands of dollars for the privilege, which made it by far the most lucrative story Hubbard, or perhaps anyone, ever wrote—a spectacular rate for a writer who spent much of his career earning a penny per word.

The story itself, which has become more familiar than Hubbard or any of his disciples ever intended, revolves around the figure of Xenu, the tyrannical dictator of the Galactic Confederation. Millions of years ago, Xenu, faced with an overpopulation crisis, threw hordes of his own people into volcanoes on the planet Earth—then known as Teegeeack—and blew them up with atomic bombs. Their spirits, called thetans, survive to the present day, clinging to unsuspecting humans, and they can only be removed through dianetic auditing, a form of talk therapy that clears the subject of its unwanted passengers.

One of the church members who read this account was screenwriter and director Paul Haggis, who was a devoted Scientologist for over three decades before resigning in an ugly public split. Haggis told Lawrence Wright, the author of the seminal New Yorker piece that became the exposé Going Clear, that after finishing the story, he got the wild idea that it was some sort of insanity test—if you believed it, you were kicked out. When he asked his supervisor for clarification, he was informed: “It is what it is.” Haggis read it again, but the same thought continued to resound in his brain: “This is madness.” Read more…

A Moleskine In Every Satchel, and a Board Game On Every Table

Photo by thebarrowboy, (CC BY 2.0).

In the New York Review of Books, Bill McKibben uses his review of David Sax’s new book, The Revenge of Analog to meditate on the enduring joy — and human necessity — of playing board games or writing things with paper and pen.

But back up far enough and many things our species does are silly. The premise of the digital world is that we can do all these silly things…faster and more easily. But why exactly would we want to? Why should efficiency be the standard measure, and not pleasure? I defy you to read Sax’s book without wanting to buy a Moleskine, put an LP record on a turntable, or play a game of Scrabble with your friends. It’s true that he mostly ignores some of the deepest questions raised by the digital age: the obsolescence of human labor against the tide of automation; the endless, uncheckable spread of surveillance. But the small rebellions he chronicles help us understand the general shape of a threat that goes beyond Karl Marx and his nineteenth-century complaints about capitalism; it’s in our digital era that all that was solid really did melt into air. Or into Wi-Fi, anyway.

Read the review