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E.L. Doctorow: 1931-2015

INTERVIEWER

Isn’t there an enormous temptation as a fiction writer to take scenes out of history, since you do rely on that so much, and fiddle with them just a little bit?

DOCTOROW

Well, it’s nothing new, you know. I myself like the way Shakespeare fiddles with history; and Tolstoy. In this country we tend to be naive about history. We think it’s Newton’s perfect mechanical universe, out there predictably for everyone to see and set their watches by. But it’s more like curved space, and infinitely compressible and expandable time. It’s constant subatomic chaos. When President Reagan says the Nazi SS were as much victims as the Jews they murdered—wouldn’t you call that fiddling? Or the Japanese educators who’ve been rewriting their textbooks to eliminate the embarrassing facts of their invasion of China, the atrocities they committed in Manchuria in 1937? Orwell told us about this. History is a battlefield. It’s constantly being fought over because the past controls the present. History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth. So to be irreverent to myth, to play with it, let in some light and air, to try to combust it back into history, is to risk being seen as someone who distorts truth. I meant it when I said everything in Ragtime is true. It is as true as I could make it. I think my vision of J. P. Morgan, for instance, is more accurate to the soul of that man than his authorized biography … Actually, if you want a confession, Morgan never existed. Morgan, Emma Goldman, Henry Ford, Evelyn Nesbit: all of them are made up. The historical characters in the book are Mother, Father, Tateh, The Little Boy, The Little Girl.

-From George Plimpton’s 1986 conversation with E.L. Doctorow, author of books including Ragtime, The Book of Daniel, The March and Billy Bathgate. Doctorow died Tuesday in New York at age 84.

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Gravity

"Views of a Foetus in the Womb" (c. 1510 - 1512), drawing by Leonardo da Vinci.

Elizabeth Bachner | Hip Mama | June 2015 |  8 minutes (1,874 words)

 

This essay, recommended by Longreads contributor Maud Newton, is by the writer Elizabeth Bachner and appears in the current issue of Hip Mama magazine. The first issue of Hip Mama was published in December, 1993, by the founding editor, Ariel Gore, as a multicultural forum for radical mothers. Our thanks to Elizabeth Bachner and Hip Mama Magazine for allowing us to reprint this essay here. Read more…

Another Supreme Court Death Penalty Ruling, Issued 43 Years Ago Today

Executions in the United States from 1930 to 2009. Graph via Wikimedia Commons

In a headline-making decision issued earlier today, the Supreme Court ruled against three Oklahoma death row inmates in Glossip v. Gross, upholding the use of a sedative called midazolam for lethal injections. Interestingly, Glossip v. Gross isn’t the first time the court has issued a major death penalty decision on June 29.

43 years ago today, the Supreme Court issued another 5-to-4 death penalty opinion, albeit one with very different results: 1972’s Furman v. Georgia ruling found a number of death penalty statutes to be unconstitutional, effectively halting executions in America for four years. Some context on the landmark case, from a 2013 New York Times article by David Oshinsky:

Furman v. Georgia is among the oddest Supreme Court cases in American history. Decided in 1972, it struck down every death penalty statute in the nation as then practiced without outlawing the death penalty itself. The ruling, based on the constitutional protection against “cruel and unusual punishment,” stunned even the closest court watchers. The death penalty seemed impregnable. It was part of the bedrock of America’s legal system, steeped in the intent of the founders, the will of most state legislatures and the forceful — if occasional — rulings of the courts.

The 5-4 vote in Furman reflected a striking political split: all five members of the majority were holdovers from the Warren Court, known for its liberal decisions, while all four dissenters were recent appointees of Richard Nixon, who had won the White House with a carefully orchestrated law-and-order campaign. And notably, each justice wrote his own opinion in Furman, meaning there was no common thread to the case, no controlling rationale. The decision ran to several hundred pages, the longest handed down by the court at the time.

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More on the death penalty from the Longreads Archive

Literary Fiction’s Open Secret

With the publication of my second book, ‘Little Known Facts,’ lightning seemed to strike. This novel was reviewed on the cover of the New York Times Book Review and went on to receive other good reviews. Not long after ‘Little Known Fact’s’ publication date, Bloomsbury acquired a second novel and a story collection. The advance for these two manuscripts was $10,000 more than what they paid for ‘Little Known Facts.’

The open secret is that literary fiction does not pay big dividends. At least not to most of its writers and publishers. Even with excellent reviews, there’s no guarantee that your book will sell. ‘Little Known Facts’ had a mid-five-figure advance and it has earned about three-fifths of it back so far. It was reviewed in several major-market newspapers and won a couple of awards. I did readings in cities all over the country to promote it, wrote many guest blog posts, and all told, it has probably sold about 23,000 copies. That figure includes paperback, hardcover, and e-books. Not bad, but by the publishing world’s yardstick, not a standout, not at all.

— Author Christine Sneed, writing in the Billfold about the difficulty of earning a living as a writer of literary fiction—even with multiple book deals.

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The Craft of Cooking

Jessica Gross | Longreads | June 2015 | 18 minutes (4,479 words)

 

In 1980, 29-year-old Christopher Kimball enrolled in a cooking class and was so frustrated by his instructors’ inability to answer his questions that he started his own cooking magazine. Cook’s Magazine, since reborn as Cook’s Illustrated, presents a small number of recipes refined through extraordinarily rigorous testing by the cooks in Kimball’s 2,500-square-foot kitchen lab. The bimonthly magazine—which features only black-and-white illustrations—eschews a focus on “lifestyle” in favor of treating cooking as a discipline and a craft. Over the years, Cook’s Illustrated has garnered a large and loyal readership—and spawned an empire, including a second magazine, Cook’s Country; many cookbooks; and two television shows. “America’s Test Kitchen,” the most popular cooking show on public television, is currently in its 15th season. We spoke by phone about what it takes to write a crystal-clear recipe, the Cook’s Illustrated business model, and Kimball’s not-quite success getting his own kids in the kitchen.

* * *

I want to get into the nitty-gritty of writing recipes that are really easy for people to follow. In thinking about our conversation, I remembered that in middle school, I had to do a project called “Write It Do It.” You were given a structure and had to write out, step by step, how to put it together. Your partner got these instructions and then had to try to construct a replica, which you’d then compare with the original.

That’s great—I should do that with my test cooks.

Well, we did horribly—my partner and I came in second to last or something—which drove home how difficult it is to describe in words how to physically construct something specific. So, when you’re writing a recipe, how do you make crystal clear what the cook is supposed to be doing?

Yeah, that’s the essence of it—and it’s made even more difficult because every home cook’s kitchen is different. The cookware is different, the stovetop is different, the oven is different and they almost never use the right ingredients, or they substitute ingredients and leave ingredients out. So the variables beyond your control are substantial. In your case, if you have a set of Legos on a desk, you know exactly what the components are. In our case, they don’t have all the Legos. They substituted some other puzzle game for half the Legos and they aren’t going to actually build a whole building; they’ll leave out parts of it. And they won’t read your directions entirely. They’ll read parts of it but not fully. So it’s more like, “Write It, Kinda Do It.” Read more…

Mr. and Mrs. B

Illustration by Kjell Reigstad

Alexander Chee | Apology Magazine | Winter 2014 | 19 minutes (4,822 words)

 

This essay by novelist Alexander Chee first appeared in Apology magazine’s third issue (Winter 2014). Apology is a semiannual print journal of art, interviews and literature, created by ex-Vice editor-in-chief Jesse Pearson. The fourth issue is available for preorder. Our thanks to Alexander Chee and Apology for allowing us to reprint this essay here.

* * *

How could you, my friends would ask, when I told them. How could you work for someone like him? Do you ever want to just pick up a knife and stab him in the neck? Poison his food?

You would be a hero, one friend said.

I did not want to stab him, and I did not want to poison him. From our first meeting, it was clear, he was in decline. And as for how could I, well, like many people, I needed the money. Read more…

The Art and Business of Book Covers

When I moved out of my previous home, I donated more than three-fourths of my book collection because I was moving into a tiny space. I had no logical process for deciding which books I kept. Some were sentimental, with handwritten notes written inside; others were souvenirs I bought during my travels. These books seemed obvious to keep. Yet I was also inclined to keep hardcovers I’d never read or even opened, simply because the covers were attractive. All of these books, together, would represent my best self — the one I wanted to display on my shelves.

As I read more online, and since my physical shelf space has dramatically shrunk, I wonder: what makes an eye-catching, effective book cover? Which books will make the final cut?

Here are pieces I’ve enjoyed, new and old, about the art and business of book cover design.

1. “Judge This: The Power of First Impressions.” (Chip Kidd, Medium, June 2015)

In this excerpt from his new book, Judge This, Chip Kidd explains that balancing clarity and mystery is important in design, and shows how both elements informed the covers he designed for books by Oliver Sacks, Harry Kramer, Haruki Murakami, and David Sedaris.
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The Box and the Basement

Illustration by Kjell Reigstad

Nathan Rabin | Longreads | June 2015 | 8 minutes (1,900 words)

 

“Working in the media in 2015 is like being part of an epic game of Musical chairs. Every day the music starts and you race madly to hold onto your fragile place in the world.”

I published that in a Facebook post after being let go from my latest employer, comparing working in pop culture media in 2015 to participating in an insane daily game of musical chairs. You try your best to keep up, to maintain the heat, the buzz, and the pageviews to stay in a game that has a disconcerting obsession with putting aging writers out to pasture to make way for younger, cheaper, more malleable replacements.

Every time you see that one of your film critic colleagues has been let go or taking a buyout (see: Lisa Schwarzbaum, who was at Entertainment Weekly for 22 years before taking a buyout, or Claudia Puig who took a USA Today buyout after reviewing films there for 15 years), you breathe a nervous sigh of relief. For that day, at least, you are safe. Read more…

A Woman on the Margins

Photo: Mitchell Bach

Jessica Gross | Longreads | May 2015 | 17 minutes (4,223 words)

 

I first encountered the work of the memoirist, critic, and journalist Vivian Gornick in graduate school when we were assigned The Situation and the Story, her handbook on personal writing. Gornick explains that the writer must create out of her real self a separate narrative persona. The narrator has wisdom and distance the writer may not, and can craft a meaningful story out of the raw details of life. This slim book cracked open my understanding of what it means to write.

In Fierce Attachments, her 1987 memoir, Gornick wields her narrative persona to construct an incisive, nuanced portrait of her conflicted bond with her mother. She describes the Bronx tenements where she grew up, the early death of her father, the complex relationship with their neighbor Nettie and, at the center of it all, a struggle with her codependent maternal bond. Her new memoir, The Odd Woman and the City, a collage of interactions in the New York City streets and with her longtime friend Leonard, is a meditation on friendship, her status as an “Odd Woman”—a second-wave feminist—and her place in urban life.

We met at a restaurant on the Upper West Side of Manhattan, where Gornick was staying for spring break before she returned to the University of Iowa where she teaches at the nonfiction program. It was sleeting out, and Gornick asked me if her mascara was running, then ordered a mezzo plate and a glass of Sauvignon Blanc. She began by telling me how much she hates teaching.

Why do you teach so much?

I don’t do it often at all anymore. In this case, they offered me too much money, and I felt I couldn’t say no. But I was wrong: I should have said no.

Why is that?

I can’t live for four months in a place like Iowa City anymore. I’m really too old for that. I’m not even sure I do need the money, but you always feel you need the money. I always taught just to make a living, and I made myself a good teacher of writing; I certainly made myself a good editor. But this time around I saw that I am so deeply out of sympathy with the whole enterprise that it’s immoral for me to teach. Read more…

The Rediscovery of Diary-Keeping

Summer Days, Camden Maine By Leon Kroll (1884 - 1974), via Wikimedia Commons

Today I was so relieved to get a migraine. For the past thirty-plus years I’ve gotten migraines regularly; they were part of the whether that happened within and without. I would get a migraine after a manic jag. I would get a migraine before a blizzard. Now I rarely get them. I don’t want to say that I miss being in pain, but I do miss the excuse to not give a shit about all the big and small things I often care too much about and that a migraine eradicates. When I have a migraine I do not grieve the shirt that was put in the dryer by accident and its texture forever ruined; I do not feel undermined by the passive-aggressive person at my workplace; I do not blame myself for failing to be in better touch with my grandmother. My body used to have the good sense to give itself a regular break from my mind. It is no longer sensible.

I welcomed a migraine today because it permitted me to forget that it is the end of summer and we are about to leave until basically next summer, and I feel guilty for abandoning my house. I turned out the lights and sat in the dim living room. I thought, This is what it’s like in this house for other nine months of the year. Lightless and empty. I tried to put myself in the house’s position. I tried to feel what the house feels because this house is a people house. I worry, without people, what might become of it.

–From the August 31st entry of writer Heidi Julavits’s year-long diary, The Folded Clock,  a project she started in adulthood after rediscovering her childhood diaries, which, she found, read like they were were written by a “paranoid tax auditor.” In her review of The Folded Clock, Eula Biss writes in The New York Times Book Review, “This diary is a record of the interior weather of an adept thinker. In it, the mundane is rendered extraordinary through the alchemy of effortless prose.” The book came out this month from Doubleday.

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