Riordan vs. Luhrmann

My daughter has read all (or perhaps all but the very latest) of Rick Riordan’s books that’re based loosely on various popular mythologies, and my son has by now read most of them. Among these are the books popularized in recent years in the form of movies pertaining to the central Percy Jackson character.

I’ve avoided reading more than brief snippets of the books, but my son’s 3rd-grade teacher recently asked if I’d be willing to give a Riordan mythology book a read to determine whether or not it’d be suitable to lend to 3rd-graders. Since this one — titled Percy Jackson’s Greek Gods — purports to be a more faithful retelling of the myths, she was worried that some of the content might be a little mature.

I cheerfully agreed to give it a try. It’s not a small book, and I got through about 100 pages before crying uncle. It’s about what I expected in terms of whether or not it’s appropriate for 3rd graders. There are some mature-ish topics mostly sort of danced around in a way that’s probably better for tweens than for the younger set but that I wouldn’t personally object to my son’s reading.

More troubling to me than these topics, which Riordan mostly handles in a reasonably oblique way, are instances of sexist language and attitudes. Of course, we’re reading about ancient Greek mythology here, and Zeus for example wasn’t exactly leading the march for women’s rights, so I don’t suppose I expected a feminist presentation of the old material. But Riordan has Percy as narrator use phrases like “chick magnet” and “had to get with her” and “screaming like little girls” and (with respect to women, though here inhabiting some god or another’s voice if I recall correctly) “take what you want,” and I feel like he could have offered the story in a voice like Percy’s without falling back to these sorts attitudes and language. In the summary I wrote for the teacher, I acknowledged that I was much more bothered by these slips than by Uranus jokes (which I find funny) and references to sex, murder, incest, etc.

I also just really hated the voice. The gimmick of the book is that Percy has been asked to tell what he knows about the old myths, so Riordan retells the myths in an annoying, sort of too-cool teenager voice that strikes me as not merely annoying but also inauthentic. I think it’s a condescending approach. Here’s an excerpt of what I wrote to the teacher about it:

My main objection to the book honestly is that it foregrounds Percy’s frankly sort of annoying voice and all but resorts to the use of text speak and emoji to strike a tone that ultimately deflates the richness of the stories being told. I wouldn’t forbid my kids to read this, but I’d probably give them a disclaimer that it’s a pretty low-calorie read and try to offset it with something more enriching and less condescending.

As I characterize the book in that way, I find myself thinking of Baz Luhrmann’s old Romeo and Juliet movie from the ’90s. It did something similar, providing a more modern and stylized take on the original play so that it was more thrilling and accessible than, say, the old Zeffirelli movie of the play or the text itself. And, well, I actually liked Luhrmann’s version a lot (I’m sure it had nothing to do with sort of a crush I had on Claire Danes at the time). So what’s the difference between what Luhrmann did then and what Riordan has done here? I’m not really sure. Luhrmann at least preserved most of the original text of the play, I suppose, so that the foregrounding of his stylistic choices was at least more firmly rooted in some of the original aesthetics and story structure. Maybe it’s that for all that Luhrmann modernized and stylized the play, he didn’t dumb it down, and I feel like Riordan dumbs things down a lot and sort of makes the dumbing down almost the primary focus. I’m not a fan of condescending to kids, and while I think it’s fair to help ease them into difficult things, I think there are better ways to do so than what Riordan does. Or maybe it’s that Luhrmann added actual beauty to the original whereas Riordan here adds only personality (and personality that I find annoying), so that it is strictly derivative and not meaningfully additive.

Later, I felt like my assessment had come off as kind of snobbish and had sort of missed the point, since the teacher was probably looking more for an assessment of appropriateness than for a more formal aesthetic or literary critique, so I talked to my kids about Riordan’s books and sent along another email, excerpted as follows:

As I reread my last note, I cringe at the realization of how pompous it comes off. I thought I’d back down from my snobbish attitude about it and see what my kids thought about Riordan compared to some other books like the Harry Potter series and books by Kate DiCamillo (e.g. Despereaux).

My daughter (11 years old) reports that Harry Potter is on a tier well above what Riordan writes, though she likes Riordan quite a lot because she finds him funny and finds the characters relatable (which is after all what Riordan’s going for, especially in this book).

F says that Riordan’s books are super mega awesome and that the Harry Potter series is super mega awesome and a half, which to him means just a little better (his grasp of fractions being apparently tenuous). F’s down on DiCamillo, though he forgets that he liked several of her books quite a lot when we read them to him a couple of years ago (my daughter rates DiCamillo’s books somewhat closer to Rowling’s books than to Riordan’s).

So, the children have spoken. Riordan’s aim seems to be to make mythology relatable to children, and it seems that he’s a success. I find what I’ve read of the books (bits and pieces mostly) annoying in the way, I suppose, that old people often find the younger set’s things annoying. Get off my lawn, etc.

Confronted with a child choosing between Rowling and Riordan, I would surely point the child toward Rowling, who I think writes in a less condescending and more sophisticated way, but I’d like to back away from my earlier assessment that I’d urge Riordan only to a child who otherwise wouldn’t read anything.

A Bad Problem to Have

I tend to be a little skeptical when a celebrity not known as a literary author comes out with a book or appears in a literary magazine. For the poetry of Jewel and T-Boz, or of Jack Palance (who gave a reading from his poems at my college years ago) I had very low expectations. These were clearly vanity publications. So when I recently saw that B.J. Novak, known primarily for his work on The Office, was this month’s author in one story and that in fact he had a collection of short stories coming out of which “A Good Problem to Have” was a member, I worried a little. Was one story — almost certainly my favorite of all the magazines I’ve subscribed to in the last decade — selling out by putting a non-literary celebrity’s name on their cover?

Anecdotally, there’s a little detail that lends some credence to the idea: Consider the end matter for the issue:

One Story, Volume 10 Number 39 December 30, 2013. ONE MORE THING by B.J. Novak. Copyright 2014 by B.J. Novak. Published by arrangement with Alfred A. Knopf, an imprint of The Knopf Doubleday Publishing Group, a division of Random House LLC.

Now compare that with the prior month’s copyright notice:

One Story, Volume 10 Number 38 December 2, 2013. Copyright 2013 Jen Fawkes. POSTMASTER: Send address changes to One Story, 232 Third Street, #A108, Brooklyn, NY 11215.

I thumbed through a handful of a dozen or so issues from the past year or so and found that almost without fail, the end matter read much more like the latter, with credit given to the author rather than a publishing house. This gels with the way that magazine publication often (not always) works. An author has a story accepted for publication at a magazine and only later assembles a group of stories into a collection for publication in book form, so that when the magazine publishes the story, the copyright notice lists the author rather than the publisher or a book title. So a copyright notice that lists a major publishing house and a book title is something of an anomaly in my recent experience with one story. This becomes important, so hang onto the fact for a moment.

Among the last dozen or so issues, there is one other exception to one story‘s usual copyright notice. In issue number 183, a story by the well known Elizabeth Gilbert is cited as an excerpt from her book The Signature of All Things. Gilbert announces her publication in one story here, and interestingly, she’s friends with the publishers and is listed in the magazine’s end matter as a sponsor. I’m not suggesting timely impropriety here; she’s listed as a sponsor going back well before her publication. Still, in two recent cases, we have celebrity status figures (vs. just well-known writers) headlining one story just as they have new books coming out. It smells just a little bit of large press sponsorship to me. Is it possible that Knopf and Viking have given one story money to shill for the well known authors of forthcoming books?

If so, I honestly have mixed feelings. It takes money to run magazines, and it’s clear from the donation and subscription solicitations I keep getting from one story that they’re not exactly rolling in dough. So on the one hand, who’s to blame the magazine if a Knopf or a Viking comes along with a fistful of cash in exchange for publication of the authors of reasonably good stories?

But on the other hand, what happens if the story quality suffers and the magazine begins to lose credibility as a source for good literature? I thought Gilbert’s story was pretty good. I knew Gilbert only because I had heard of the movie adaptation of her Eat, Pray, Love, and my expectations weren’t very high. I was pleasantly surprised by her story. When I saw Novak’s name on the cover of the magazine, my knee-jerk reaction was to roll my eyes. Surely this guy was a hack, and with a new book coming out, gracious me, was it possible that my favorite little magazine was selling out? But Novak’s not just a comedian. He studied at Harvard and had writing and producer credits on a very funny, popular television program. He is not without talent. I was skeptical but open-minded.

And boy was I pleased when I started reading his story! It centered on a very clever sort of creation story behind the old math problem about two trains traveling toward one another at different speeds. It was funny and had some heart. It was well written and had the promise to be a really fantastic story. And then it ended abruptly with a feeble callback to a statement made earlier in the story and with all its goodness left unrealized on the table.

A story as good as what I’m accustomed to reading in one story would have pretty well put aside my worries about what was beginning to seem like an occasional bit of quid pro quo with publishers who might be in a position to help a little magazine out (and again, who could blame the long-suffering magazine?). But I don’t think Novak’s story should have made the cut. Or, it had plenty of potential but needed a lot of editing before making the cut.

Of course, there’s the problem. Think back to my description of the way magazine and book publication often work. Vetting by magazines happens first, and the books that stories ultimately make it into acknowledge the magazines for their initial publication of the work. Magazine editors have the opportunity to work with an author to polish a story and bring it up to snuff, and in fact, I’ve read accounts from one story authors describing how useful that process has been to the improvement of their work. I imagine this is a big part of why the stories in one story tend to be so consistently good.

But if a story is already ready for press in book form and the book publisher offers it to a magazine, it seems likely that the magazine will have a reduced privilege to make editorial suggestions. Of course, I don’t know anything at all about the life cycle of Novak’s story, but it’s hard for me not to think that because the piece made its unfortunately abortive way into a book and was then offered to the magazine, one story pretty much had to take it as it was, and as a result, the magazine this month featured an inferior story.

This all makes me feel pretty sad. For one thing, I think that with better editing and a jaunt through the usual publication meat grinder, Novak’s story might have been a great deal better. It could have been a wonderful piece, in his hands or the hands of another who’d thought it up and done it full justice. So there is a horrible waste at hand here. Skirting the standard editorial process here diminished his achievement. I also feel like Novak’s fame more than his ability may have played a role in his sudden publication of a book of unvetted stories. He reportedly got a seven-figure deal for the book this story will appear in and a second book. As far as I know, otherwise unproven authors aren’t generally entitled to such deals, so it’s hard to figure the deal arose from much beyond his reputation as a comedic actor and writer — which is fine but which doesn’t mean he’s entitled to a literary stage for ultimately sub-par work. And of course I mourn one story‘s involvement for two reasons. First, I hate that a quality magazine has to (if I have things right) make deals with publishers to peddle the work of celebrity authors with forthcoming books (as if taking money from amazon.com, which has done much to kill small presses, wasn’t indignity enough). And second, I’m sad that for the first time since I’ve been a subscriber (admittedly only a year or two), the magazine has published a prose story that I really thought wasn’t worthy of the magazine (and, worse, that it might have been).

I suppose I’ve offered qualifications enough, but just to be clear, I have no insight into what deals one story may have made with any publishing houses. I may be wearing a tin-foil hat, and everything herein that’s not verifiable should be considered utter speculation, the ravings of a crank. I actually really hope I’ve got a lot wrong, that somebody will tell me what I’m misunderstanding about Novak’s story that makes it great.

If there is something a little opportunistic going on here, it’s left me very much on the fence with regard to Novak. I sort of want to read his book, but I also really sort of don’t now. Maybe I’ll choose to believe that one story has had its cake and eaten it too here, benefiting from a sort of payola while sending a coded message to its discriminating readers, by publishing a sub-par story, that the cited collection was not worth reading and the acceptance of the work one purely of financial necessity rather than a lapse in editorial judgment or a full-on sellout.

(Vacation) Under the Volcano

I’ve read a great many of the Magic Treehouse series of books to my kids over the last few years, including #13, titled Vacation Under the Volcano, which I’ve read several times. In the series, Morgan le Fay inexplicably sends children on perilous adventures to perform menial tasks and learn obvious lessons. It’s all a little too cute, and when I first started reading these years ago, I kind of hated them. They’ve grown on me a bit over time.

In any case, as I said, I’ve read #13 several times, but only this time did it occur to me that the title incorporates the title of Malcom Lowry’s vaunted novel Under the Volcano, which details a very different sort of peril (dipsomania), though if I recall correctly, the protagonist shambles around the city for a day in much the way that Mary Pope Osborne’s Jack and Annie wander around on their brief journeys.

I wasn’t a great fan of Lowry’s book when I read it a long time ago but suspect I just wasn’t in the right mind set for it. It’s hard not to chuckle at the notion of a dark mashup of the two, however, with Jack and Annie prowling around Quauhnahuac on the Day of the Dead trashed on mescaline.

That is All (Again)

A few weeks ago, I wrote a brief review of the first sixth of John Hodgman’s recent book, That Is All. I’ll summarize: I found it funny (silly, actually) and not really worth time I would have preferred to devote to literature that aimed higher.

Even so, I continued to plod through the book a few pages at a time, mostly while on the toilet, really in much the same way that one flips through the joke sections of Reader’s Digest while on the toilet. Tonight, I found myself torn between reading more of Hodgman’s book (I had about 90 pages left) and reading something I thought I’d really find nourishing. I hunkered down and basically speed-read the next 50 pages. I should pause and note that this is not a book that lends itself to speed-reading. Full of tables and footnotes and asides and a running calendrical storyline at the tops of the pages, it’s actually something of a chore to get through. And the information itself is often so bizarre, usually purposefully incorrect, forcing you to stay pretty alert or risk missing out on a lot of the humor. Essentially, it’s a book that demands a lot of attention while giving you very little back in return. In a word, it has been infuriating.

But tonight, between two sections titled “The End” and “The Beginning,” I began to catch a whiff of redemption. After all that silliness, Hodgman lays down something like this:

If you live, as I do, in a city that is not only full of intrinsic dangers (falling pianos), but also prone to natural disasters and targeted by violent extremists; and if you, as I do, enjoy a family history of cancer or some other congenital disease; and if you are, as I am, sedentary and overweight and over-asthmatic (as I assume you must be, as you are reading a book) … [ellipsis Hodgmans’s]

ALL OF WHICH IS TO SAY that if you are, as I am, a mortal human, then the likelihood that death will intrude upon your life cruelly, quickly, and before your chosen time — that it will take you before your own personal story for the world has unfolded the way you wrote it or it was written for you, and before you can even say goodbye — this likelihood is greater than you admit… [ellipsis mine]

Life may be miraculous in its unlikelihood in the universe, but it would be a fallacy to suggest that its rareness makes it inextinguishable.

This is the manner in which Hodgman closes “The End” before moving on to the “The Beginning” (which is the end — eat your heart out Burnt Norton). In the final section, Hodgman gives us a true and proper narrative, a story that made me slow my reading back down even while negotiating the silly calendrical top-matter and actually begin to enjoy the book. It was beginning to seem a worthwhile read (and then it ended; that was, I suppose, all).

Even with redemption in the air, I can’t say that I liked the book. I sort of hated it, as a matter of fact, until the final sprint. Or, I was amused by many of the little pieces that made up the book, but I resented the the thing as a whole. As I said in my initial impression linked above, any batch of a dozen pages of the book would have made a funny blog post, but I sure didn’t need them together all at once. I won’t read any of Hodgman’s earlier books, but if he wrote another in the mode he adopted toward the end of That Is All, I’d snap it right up.

That Is All

An acquaintance of mine worked on the production of a recently published book by John Hodgman entitled That Is All and was excited to recommend it heartily. My taste in books tends to be pretty well in sync with hers, and I took her recommendation to heart. I’m about a sixth of the way through and am not feeling great about the purchase.

The problem probably lies less with the book than with my expectations. Knowing the sort of humor that Hodgman has written in the past for The Daily Show, I suppose I should have expected something like the silly, meandering book at hand. Hodgman has written another book or two that I presume are in the same vein as this one, and had I done any research to learn what they were like, I would have been prepared for That Is All.

The strange thing is that before beginning this book, I wouldn’t really have counted myself a very serious person. I teach my kids fart jokes and enjoy low-brow and high-brow humor alike. I like cornball, and I like silly. And Hodgman’s book is nothing if not silly. My problem with the book lies not in the humor — for it is very funny — but with the investment it requires. It reads like a blog, but it’s packaged as a book. I like blogs. I earn my livelihood thanks to blogs. I would eagerly read a Hodgman blog written in the style of this book. But because it’s a book of several hundred pages, I feel pressure to read it in book-like chunks, and every time I go to it, I feel like I’m wasting time. There are more important, more serious things I could be reading, things that would nourish and instruct me rather than diverting me in the way an occasional blog post coming to me via feed reader would do. Who knew I was such a curmudgeon?

Hodgman is a smart, funny guy, and he’s assembled a book full of smart, funny things. It’s just not the sort of content I’m generally interested in putting much time into. I’ll finish it bits and pieces and will enjoy it, but not without something like guilt while doing so.

Moby-Dick in Pictures

Here’s a quick reblog of a post I wrote for the literature/reading blog I’ve run (or in the last year neglected) for a couple of years now.

In a nutshell, a book I’ve long been waiting for has finally come out, and it’s a wonderful book. Even if you’re not into Moby-Dick, the art in the book is so distinctive that it’s worth a look. Of course, you can get a look at electronic copies at author Matt Kish’s site, and if you’re so taken by one that you’d like to buy it, you can do that too.

Having this book land at last on my doorstep felt like Christmas. A couple of photos:

The book and its gorgeous box. It's a big book.

I bought the original of the Fin Back months ago and can now see it miniaturized in the book.

Demons in the Spring

I have sort of a thing about fiction author Joe Meno. Years and years ago, a friend gave me his short story collection Bluebirds Used to Croon in the Choir, and I loved it (and much later, after a reread, reviewed it here). On the basis of my liking that book, I more recently read his novel The Great Perhaps, which I liked much less (reviewed here). Meno for me is much like Richard Powers, in that I think there’s a lot of potential there but he fails to live up to it, so far, more than he lives up to it. Having recently read and not much liked Powers’s Gain, I’m on the brink of giving up on him. After reading the first few stories of Meno’s collection Demons in the Spring, I began to fear I had reached the same breaking point with his work. The jury’s still out.

Meno’s short stories are quirky, often outlandish, and I like that. But in this collection, they seem very uneven. Some of the stories seemed half finished and some simply not good. I felt at times as if I was reading unrevised workshop material, and I occasionally thought Meno was doing the cutesy, quirky thing without the literary punch that earns you the right to play such games. These stories I found myself reading hurriedly, just hoping to get to the next (and hoping it would be a better story).

But there were some stories that I liked, some of them very much. As in Bluebirds, Meno writes often of loneliness, of people just trying to peer through the murk of their alienation and make a connection with somebody. Among them, we meet in “Miniature Elephants are Popular” the sad man made happy at last by the possession of a tiny elephant whom, for the sake of helping another person, he drives to a bad end. Here Meno may pull a bit too much of the cutesy-pie business, but ultimately the story redeems it.

In “I Want the Quiet Moments of a Party Girl,” we meet a not-terribly-likable couple who endure a tragedy and find a way through it. It’s a rare dip for Meno into something resembling realism, and he does it pretty well. It occurs to me only now that he ends the story in the way certain types of thematically similar movies that make me want to wretch tend to end, but here, with these characters, it seemed a good ending.

“The Architecture of the Moon” is a fanciful piece in which all nighttime light (including that produced by the moon and stars) is extinguished, the city reconfigures itself at random, and people wander around lost at night. The main character of the story speaks with his wandering father on the phone nightly, often trying to guide him homeward. It’s easy enough to read this as a story about Alzheimer’s and a son working to shepherd an afflicted parent through the confusing mess of it all, though it could also just be a fanciful story. There’s a simple tenderness and innocence about it that I found very appealing.

In “The Unabomber and My Brother,” Meno treats us to an unlikely juxtaposition of his burn-out brother and the Unabomber. It’s another story that has a soft, unexpected landing at the end, and I thought the Unabomber tie-in and the way in which Meno handles an emotional finish in a weird emotional-and-yet-still-detached way was pretty nice.

It’s hard to read “Oceanland” without hearing echoes of George Saunders’s various stories about theme parks in which he depicts sorrow among the shabby ruins of tourist destinations designed to — and of course failing horribly to — provide pleasure. Saunders does it better, but I thought this one was ultimately pretty satisfying.

Until I read the last line or two of “Iceland Today,” I wondered what the point was. It’s a funny, fictitious history of Iceland in which we learn all sorts of zany facts. It’s the kind of little sidebar I’d expect to read nestled in almost as a sort of set piece within one of the sorts of sprawling encyclopedic novels I tend to be fond of (as, e.g., a student term paper). But however much I chuckled while reading it, I couldn’t quite figure out why Meno had written the thing or put it in a collection instead of on a blog. He punches you in the gut with the point at the very end of the piece, and I’m ambivalent about how he handled it. This story I regard as a curiosity, neither exactly a failure nor exactly a success.

Meno finishes strong with “Children Are the Only Ones Who Blush,” which has sort of a Juno vibe to it. It’s easy enough to envision the main character played on the screen by the ever-baffled, eager-to-please, neurotic screw-up type best given life in recent years (and in Juno) by Michael Cera. This story manages to be both delightful and sort of sad, which I suspect is pretty hard to pull off.

The stories I’ve not commented on here generally left me cold or frustrated.

I made a note at one point that Meno dwells a lot in this collection on architecture and city-planning type topics. We also see action at several art schools, and if ever there was a collection about family members betraying or disappointing one another, this is it (though we do also see the occasional redemption). Of the collection’s title I can make little sense, though the wry dual-meaning (are the demons in the season or in the water?) I suppose is cute. Each story had accompanying illustrations by a different artist (hence, perhaps, the preoccupation with art schools, though the artists Meno portrays are almost all wretched folk), and some portion of the proceeds from sales of the book is being donated to 826Chicago, a branch of the student writing outreach organization Dave Eggers founded.

On the basis of this book, I’m still a little unsure how I feel about Meno’s work. I loved Bluebirds so much that the two things I’ve since read and found at best uneven have left me leery. Maybe he wrote just the one outstanding book. Do I dare risk the disappointment of buying others and confirming that maybe to be true (as, so far, I seem to have done with Powers)?

Moby-Dick on Encore

A few nights ago, I discovered that Encore’s recent two-part mini-series adaptation of Moby-Dick (IMDB page) was available on demand. Starring Ethan Hawke as Starbuck and William Hurt as Ahab with appearances by Donald Sutherland and Gillian Anderson, the show was fairly star-studded and not badly cast at all. I thought Hurt as Ahab was credible, though I think the part was misdirected. I’m not alone in thinking the show portrayed Ahab as rather more like the Buddy Jesus version of Ahab than what die-hard fans of the novel will really be on board with, but I do believe that with better direction and writing, Hurt could have pulled off a great Ahab. Southerland as Father Mapple was a bit of a joke, and the foregrounding (briefly) of Ahab’s wife rubbed me the wrong way, but it was nice to see Scully again. Hawke played Starbuck admirably, and Billy Boyd played a solid Ishmael. Second Mate Stubb I liked, but Flask was neither stout nor rowdy enough for my taste. All in all, I was pleased with the casting and acting.

The plot itself diverged rather drastically from the novel (predictably, I suppose). Steelkilt, who has an important thematic role in the novel but is by no means part of the main story, has a major role in the film. I guess that a movie adaptation of the novel does need someone to step up and speak out against Ahab more vocally than Starbuck is permitted by his station to do, and the introduction of Steelkilt for that purpose is actually fairly ingenius. The purist in me hates the move, but the pragmatist can see why the filmmakers brought Steelkilt to the screen.

The writers screwed rather a lot with the sequence of events in the original. In the film, the white whale attacks when the boats first lower for another whale, and I thought that sapped a lot of suspense from the movie. On the other hand, I suppose the writers felt as if they needed to let us know very early on that Moby-Dick was a real threat. (But doesn’t anybody who’d be inclined to watch such a movie have at least an inkling that there’s a great white whale and a catastrophe?) I don’t object at all to the idea that Moby-Dick might have been lurking about, and in fact I even sort of liked the notion that Ahab and the whale had a real sense of each other’s proximity, but I think the attack should have been put off and the suspense drawn out. Other plot divergences such as the omission of Fedallah and crew struck me as being in good service to the film without detracting from any sense of fidelity to the original.

Ishmael becomes a bit too important in this version of the tale. Ahab confides in him one time, trounces him another, and he’s generally just too present within the story. Of course the novel has a number of problems with point of view, in that it’s a first-person narrative in which many events occur that would not have been accessible by the narrator (e.g. private moments between Ahab and Starbuck). But these are problems of the novel and need not be dealt with by the movie, which naturally has its own omnipresent point of view. I suppose the writers felt a need to make more of a protagonist of Ishmael so that his escape at the end seemed somehow justified by his importance within the rest of the movie, but again the purist in me found it distracting and unnecessary.

Probably my favorite moments in the film occurred once the harpooners had sunk a dart in a whale and were being pulled along behind. Melville describes the peril of such moments in great detail in the novel, and I think this film does the moments justice. It was great fun to watch. I also enjoyed some of the visual depictions of life aboard a whaler — such as cutting up blubber, etc. — and found myself wishing there were more of these moments. I wish we had seen a better representation of the try pots, which Melville describes thoroughly and with great, appropriately hellish effect.

I did enjoy the movie, which had a budget of 25 million bucks and was on the whole a nicely put-together piece (the costumes, the staging, the special effects) as TV movies go. I think it’s a better adaptation than the one of a few years ago starring Patrick Stewart. It’s been long enough since I’ve seen the Gregory Peck version that I can’t really compare the two, but I suspect this version of the story is more vivid and engaging, the former probably truer to the original and a little less silly on the Ahab front. If you’ve got three hours handy and are of a mind to watch a version of the Moby-Dick story that differs significantly from the novel but has plenty of merits of its own, give it a watch. You can read a couple of other reviews here and here.

First Impression of the Kindle

At last I’ve decided to join the modern world and get an electronic reading device. I settled on the Kindle for no terribly compelling reason. A device that supports more open formats might have been wiser, really, since a big part of what I’m interested in is carrying old, public-domain (free) classics with me to catch up on when there’s not something new (expensive) I’m wanting to read.

I’ve played with the thing only a little bit, and my very first impression is that I’m going to have to make some adjustments to how I approach the device. When I glance at web sites on my phone, I’m usually doing very cursory reading, and the temptation to gloss over what I’m reading has carried over to my use of the Kindle so far. In the very wee bit of reading I’ve done (just the first few screens of a couple of sample downloads so far), I’ve been in electronic reading mode and so have been involuntarily skimming. So step 1 of learning to read on the Kindle will be to force myself into an awareness that the books I’m reading on it are in fact real books and not things to be merely skimmed.

More, perhaps, once I’ve had more of a chance to read. For the moment, I’m off to read the real paper book I had begun last night (Lolita, one I’m long overdue for and somewhat dreading).