Bookshelves #8

Well this is a sad little shelf compared to the others so far. Rather than being stuffed full or having a few tag-alongs stacked on top, we’ve got some leaners, and a couple of pretty dull ones in the mix too.

We start with more Lethem. Motherless Brooklyn is sort of a noir book that I enjoyed, though it’s not my favorite Lethem by a pretty long shot.

The Melville biography is actually quite good — a really nice mix of literary criticism and biography and a must-read if you have more than a passing interest in Melville or in Moby-Dick. It is very readable, and I’ll almost certainly at least re-skim it in the next decade or so.

I tried reading Catch-22 some 15 years ago and couldn’t get into it, but I tried again in the last five years and loved it. What a mix of hilarity and gut-punching.

Next up, we have the last Mitchell from before he went kind of rogue with the weird pseudo-sci-fi horology stuff. I recommended The Thousand Autumns of Jacob de Zoet to some coworkers a few years ago before remembering that it opens with a really grisly complicated birth scene complete with diagrams, which isn’t usually the sort of thing it would occur to me to recommend to coworkers. In any case, this really is a lovely book about the Dutch East India company opening a trade route to Japan, with a little bit of the mysticism that leads into the catastrophe that is Mitchell’s followup The Bone Clocks. Maybe we can consider the gap between this and the next book sort of a moment or space of silence or void in honor of the book Mitchell could’ve/should’ve written next.

I didn’t absolutely love every moment of Barnes’s History of the World in 10 ½ Chapters, but there was surely some good stuff in evidence, and in general I’m hanging onto Barnes, as I believe he’s smart and important and is somebody I’ll want to keep reading and rereading.

Wallace of course was inevitable (something by, about, or somehow pertaining directly to him has been found — unintentionally, I assure you — on every compartment of the shelves so far), and this issue of Sonora Review focuses on his work. I keep it because I’m a near-completist.

I rarely read nonfiction. When I do, it tends to be about things like art forgery or the classical concept of swerve as a way of understanding the universe — basically stuff that teaches me about art or literature or culture — but a couple of years ago, I was forced asked to lead a team at my company, and as a result (since I was more of an “I’ll just get this done” person than an “I’ll help others get this done” person), I read a few books on leadership. I still do kind of pinch my nose and wade through a book of this sort every once in a while (I’m in one now called Thanks for the Feedback). This one in any case was pretty interesting. Although it read very much like a consultant-authored book, it read a lot less like an infomercially “I am just going to pontificate at you inspirationally” book than others because they backed it up with lots of data. The authors looked at a lot of teams that had been successful and tried to extract data about things that correlated with that success, and there was plenty in this book to highlight and think about. It’s a little dry, and I highlighted and took notes about all the good bits, so I suppose I’d recommend asking me for the highlights over reading the book, if you’re in the market for such stuff, but I’ve kept it because my company paid for it (so selling it back feels inappropriate) and because I could well imagine flipping back through it sometime.

The book on computer programming is dry and horrible, and my company bought it for me and I’m ashamed I haven’t read it. A developer I admire recommended it a few years ago, and I got to page 11. I hang onto it out of shame and should really pass it along to a developer on my team or elsewhere within the company.

The first Roth I read was Portnoy’s Complaint, and boy was it hilarious. There’s good stuff in Goodbye Columbus too, but it’s probably not worth keeping. I read one other book by Roth a year or two ago. I’m kind of meh on him. He seems pretty funny but kind of a shithead. I’m putting this book in the sell-back pile now, and I suppose I’ll really need to start stocking up on dark blue or purple books to round out this shelf.

I ran across Jodi Angel in the little magazine one story (which I really love, though I have a backlog of about two years to wade through), and this was a really solid collection. She writes often enough from the perspective of teenaged boys, and much better than I’ve ever managed to write even though I once was a teenaged boy and a fair few bits of the little writing I’ve tried to do over the last 20 years’ve been from the perspective of or about the experience of a teenaged boy. I’ll definitely revisit these, and other work by Angel.

We finish strong as we head into the browner tones with Ozick. Well, we finish strong in that we finish with Ozick, though this is very far from my favorite of the books of hers I’ve read. I think she’s great, but this was very meh for me. Still, when I find an author I really like, I tend to hang onto their books.

Next time we’ll get to a real humdinger. It’ll take me probably 3,000 words to get through writing about the Pynchon, Byron, Barth, some of the shorter works of Wallace (who will be nine for nine on my shelves), Delillo, Pinsky, the agrarian poets, and um the whole of of art history.

Bookshelves #7


I have to start this post off with a confession: I used to write poetry. When I was 16 or 17, I wrote about things like “oh, I have these deep soulful blue eyes that speak of my pain in this world,” but by the time I got to college (at least the later parts of it, during which I wrote a poetry manuscript that’s bound in one of the university libraries and for part of which I actually somehow won a literary prize with a cash reward for which the value was equivalent to like 8 weeks of selling my plasma, which I think is probably pretty close to a Pulitzer or a Nobel), I was a little more serious and let’s say literary about it. By this, I mean that I read a lot of conventional poetry and adopted an attitude of “fuck that shit” and tried to buck tradition in mostly ultimately pretty silly ways, but in ways that seemed to either spark the admiration of my peers or cause them to lie to me. I did also write a big long formal and mostly traditional cycle of poems that included a couple sonnets and a villanelle and if I’m not misremembering a few forms of my own devising in it, so I wasn’t all “fuck that shit” but was also a little bit “but there’s sometimes something kind of nice about that shit.”

This all brings us to good old Richard Wilbur, whom I do not like. Some of his poems are nice. His children’s poems are downright delightful. I met him while I was studying poetry writing in college and indeed had an opportunity to have him critique one of my poems, which from my perspective (not so far removed, I’ll grant, from the “deep soulful blue eyes” perspective, but also a fair bit more mature) was a like elegy to the loss of religious feeling in spite of deep family ties to that feeling. When Wilbur visited my school and spoke in his sort of elevated tone about poetry, it was sort of wonderful, but when he read and critiqued my poem, one of many (almost certainly more artful ones by my peers) that he could have selected, in front of a big bunch of people, and when his critique consisted of basically the statement that the author probably needed to get right with God, I was pretty unimpressed. Still, if he is still living, he is considered one of our best living poets, and in spite of my kind of terrible experience with his semi-publicly dismissing whatever like literary or prosodic value one of my poems may have gestured toward, it was neat to meet him. He gave a reading while he visited my school (during which he really did endearingly read some of the children’s poems), and afterward I had a chance to sit around and drink whiskey with him and some classmates and teachers, and it was very neat (he told stories from the war, among others).

All of which in the end is to say that this nearly 20-year-old collection of Wilbur’s poems is autographed but thankfully and somewhat surprisingly not autographed “may you find Jesus, you troglodyte.” I don’t love his poems for grown-ups, but I do admire something about his formalism. When my class of poets had a chance to spend some time with him, and somebody asked whether he labored over his poems, he said that they just kind of came to him (in I suppose rhyming iambic meter), to which I mostly call bullshit. So that’s Wilbur.

Ahem.

The Dog Stars is lovely and sad. I certainly recommend it, and I’ll also recommend Heller’s The Painter, which I must surely have kept (though upon a quick scan, I don’t see it on my shelves, so maybe I gave it to someone).

Now we come to the sweet little darlings of my collection. Back in college, I harbored dreams of one day owning a bookstore, not understanding that that was no way to make a real living. This was before the kindle was a thing, even, so it wasn’t as dire a prospect as it is now. Every once in a while, I’d pick up an old-timey book or two. I used to have a set of three volumes of Ben Jonson from I believe the 1700s, but they were in bad shape, and I eventually gave them the old heave-ho. I have an oldish Byron (shelf #9)  that we’ll get to a few shelves hence. But these two little books are so nice. Longfellow is so nice. I read Hiawatha many years ago in a different edition, and I forget whether I read Evangeline in these books or in another, but this little set from 1872 really pleases me, and there is much to admire within Longfellow’s work. I suppose he too, had my heathenish sentiments been put before him, may have proposed that I find my way to Jesus, but he didn’t say it to my face in front of my peers, so I can hardly fault him for it.

More Saunders, another set of essays on Wallace, and more Barth. Blah blah blah, the usual. Let me pause here, though. There’s also a reader’s guide to Gravity’s Rainbow that is indispensable if you’re a serious reader of the book. A few years ago, I submitted some ideas (pertaining, oddly enough, to lemmings and NYC independent theater of the ’60s) to its author that he seemed intrigued by and said he’d follow up on, but I’ve never heard back, so maybe my ideas didn’t hold water. I keep meaning to check out the since-revised edition to see if I (or my weird reference) make a cameo.

And then we come to Girl with Curious Hair by Wallace. I love “Lyndon” and “John Billy” from this collection, though “My Appearance” is probably more well known given legal shenanigans pertaining to it. The novella that wraps up the collection was reportedly stolen from the trunk of Wallace’s car and thus rewritten from scratch, but I’ve never known whether or not to believe that story, since “John Billy” seems to be influenced heavily by Gass’s “Omensetter’s Luck”  (see shelf #4), whose preface also goes at length to say that the original manuscript was stolen (which seems kind of too coincidental).

You can’t really see it in the photo, but there’s another graphic novel of Moby-Dick tucked in there. My ten-year-old son recently took a look at this and liked it, so I’m optimistic that I may get him looped into Melville-mania, though my wife and daughter continue to resist. I quoted a bit at the dinner table a couple of nights ago, and nobody swooned at how good it was, so count me a pessimist for the moment (maybe I should’ve chosen a quote other than “ego non baptizo te in nomine patris sed in nomine diaboli”?).

Often enough, while on a video conference for work, I’ll hear what sounds like an English usage error, or something will trigger me to think about usage, and I’ll turn around and pluck Garner’s Modern American Usage off the shelf to check on something. I had cause to do this just yesterday. We saw the smaller cousin of this book (also by Garner) on shelf #1. This is one of my favorite, most useful, books. I’m pretty decent at using words, but pretty much any time there’s ambiguity around usage, I can pick this book up and get clarity. Garner is very witty, and I really love his language change index, which offers different ways of thinking about usage issues, such as for example (my favorite among several) the etiquette analogy, which rates usage errors on a scale from “audible farting” to “audible belching” to “overloud talking” to “elbows on table” to “refined.” If you’re interested in American English usage, pick this one up. Since Wallace is a theme in my shelves, it’s worth noting that he and Garner seem to have been fans of one another, which is in fact why Garner’s books are on my radar at all.

Finally here we have Borges, who in this translation I do not love. A Wallace (of course) acquaintance and semi-biographer has suggested to me that another translation is much better, but my feeling from reading this collection, admittedly kind of tired, on an airplane a few years ago, was that Borges does this thing where he states something really obvious as if it’s something of consequence, and that it doesn’t work. It’s almost like the old Jon Lovitz thespian skit on SNL in which he does transparently poor acting and then pronounces with a flourish “Acting!” So, I’ll probably reread this collection one day, or some subset of the stories translated by someone else, but there is certainly no rush.

This is a pretty important shelf to me, even if I don’t love every author or every book on it. Next we’ll wrap up blue and head into purple, with, naturally a few of the usual suspects represented.

Bookshelves #6

Well here we are at shelf section number six. We’re almost a third of the way through the series, and here we move very firmly into the blues. More Barth skating along the top there, though I forget why it’s misshelved, as it’s been a few years since I read this one. It’s fine — mercifully short for Barth, and entertaining enough. I keep it because I keep Barth, figuring that one day I’ll learn how to learn something from him. Beneath that a book on literary theory that I believe I got as a freebie at the MLA conference a few years ago. I haven’t really read much theory and certainly not much in nearly two decades, so I like to think I’ll crack this one sometime to broaden my mind, though really I’m finding that I become a less careful and thoughtful reader over time, so maybe I won’t.

Steinbeck’s East of Eden was for a while my top few favorite books. I read it along with a bunch of other Steinbeck oh maybe 12 or 14 years ago but haven’t revisited his work in a while. I’m sure I will. The Song of Hartgrove Hall surprised me. I picked it up last year during my year of browsing shelves more or less at random and looking for paperbacks by people who were not straight white men. Honestly, once I dug into it, I thought it’d be a sleepy, dreary, fusty old death-of-the-landed-gentry’s-legacy sort of thing, and I suppose it basically was, especially for the first hundred pages or so, but there was also a lot of really beautiful writing in the book and I wound up liking it a lot more than I expected (enough that I kept it, at least).

I read All the Light We Cannot See in 2015 as a selection from the Tournament of Books, which I led kind of a thing for among some of my coworkers. I loved it. His pacing is a little too fast, but gosh did he write a nice book, and I can easily see myself going back to this one some day.

I’ve already documented the appeal Lethem’s work holds for me (am currently reading a short story collection of his that I’m liking quite a lot). Chronic City isn’t my favorite of his books by a long shot, but it’s good enough, and it makes a reference to Infinite Jest in the form of a fat brick of an imaginary book called Obstinate Dust, and that amuses me.

The book about Cape Fear is one my dad gave me a while back that I believe must have belonged to my grandmother. I forget the precise significance of the book, but the Cape Fear river (yes, that one) runs through Wilmington, NC, where my parents grew up, and so this is a book out of my past. I believe there may be an anecdote in the book about my grandfather or some other member of my dad’s family being something of a reknowned dancer in the area, but I’m not positive. This isn’t the sort of book I usually go in for, but I like to think I’ll read it one day, when trying to figure out a bit more about where I come from.

I think I’m not cut out for Beckett. I tried this trio of short novels a few years ago and found it nearly impossible to wade through and gave up. I had the same reaction to Ulysses on my first few tries, and the same with Gravity’s Rainbow, which I’ve now read with increasing pleasure a few times. I’ll try this one again in a decade or so and see if I’m fit for it then.

An anonymous coworker sent me The Art of Fielding probably just about 5 years ago, knowing that I had a thing for Moby-Dick, which, paired with baseball, is featured prominently in this book. It’s not the absolute best book I ever read, but I enjoyed it quite a lot, and I have a soft spot for anonymous gifted books, I suppose. It also serves as a reminder to keep Harbach on my radar.

Handy Dad was a Father’s Day gift years ago, and because I’m not handy and I’m a little lazy when it comes to actually getting up and doing things, I’ve done very few of the things in it with my kids. I mean, making a soap box car or erecting a tree house sounds really nifty, but it also sounds like work. I have mustered the gumption to make a number of paper airplanes using a pattern in the book, and I can report that they are pretty much the best designed paper airplanes I’ve ever seen. (I’m both un-handy and lazy about activities, but to my credit, I’ve sat down and read books at length to my kids nearly every day of their lives and often enough for a couple of hours in a single day, so I am at most a partial deadbeat.)

Wallace comes up yet again in Elegant Complexity, a really great reader’s guide to Infinite Jest. It does a nice job giving both chronology and discussion of themes within the book, and even though I had read and discussed the novel a few times before getting this book, I found it illuminating and will certainly go back to it when I reread and reread IJ in the future.

Finally, another guide in the Harmon and Holman handbook to literature. This book catalogues literary terms, periods, schools of thought, and so on. It was a required text book when I took a college class on Modern poetry by one William ahem Harmon. As in Harmon whose name is on the spine of the book. It was a good class but a weird one, in which he talked at us about poetry but also made us learn terms from the book that honestly probably weren’t that important to learn (though I do like that I can still tell you about asyndeton and hypotaxia). Harmon was the weirdest professor I ever had, and I loved his class. I wrote a paper once on Hopkins and Yeats and bird poems whose title was a strange sort of pseudo-mathematical equation, and he took it in stride. He once held forth about a competition to find the longest one-syllable word in English, with his (maybe?) winning entry of “broughammed,” and I don’t think he ever replied to the email I sent him in which I proposed a longer (if dubious and basically fabricated, in an “if you take X to mean Y and grant that Z, then this is a legitimate word” way) word, subject to lots of interpretation and perhaps a conveniently fanciful pronunciation — “schoenanthed” (I mean, if we can imagine that the broughammed-tying word “squirrelled” is one syllable, I’ll take “schoenanthed” as a given too). All of which is to say that he was my type of weird. Later, I learned that my mother in college had the Thrall, Hibbard and Holman Handbook to Literature, which if you’re reading carefully you’ll note shares an editor with Harmon’s book. So as with The Inlking way back on shelf #2, there’s sort of a neat if random and actually not remotely significant link between my mother’s college experience and mine. We’ll see her older edition of the handbook if we get as far as shelf #13. I still use Harmon’s edition as a reference every once in a while. Where else am I ever likely to learn that “ficelle” is the name of a string used to control a marionette and that Henry James used the term to mean “confidante” — a means (in the handbook’s words and not the words of this blog’s humble author) “by which a self-effacing author conveys necessary information.”

More blue next time, with a lot of the usual suspects and two of my favorite little books I hang onto as objects, even if I don’t open them very often at all.

Bookshelves #5

Here we are at the end of the first row of my bookshelves series. To say that there’s some foundational stuff in here would be an understatement, not only in terms of my own reading tastes and trajectory but in terms also of English literature and even of western civilization.

The two Wallace books bookending the shelves should come as no surprise to you if you’ve been with me so far. The most brightly colored book in the batch is an anthology (of which I am generally a fan, though I tend to go for story anthologies) edited by Wallace, with a great intro and some excellent essays. I’ll jump ahead again to Wittgenstein Jr. since Wallace’s first novel had a bit to do with Wittgenstein the philosopher, so there’s a weird, random tie between the two. I didn’t love Iyer’s book (but I liked it) and I think I kept it because it was kind of a puzzle for me that I thought I might like to try again some day.

Now we’ll backpedal to the Melville, which I picked up cheap a long time ago. Generally when I buy Melville, I’ll keep Melville. I have conflicted feelings about Barth. I love what he does, but I think he usually is pretty tiresome about it and tends to go on for way too long. This is surely the case for The Sot-Weed Factor, which is at times hilarious but is also annoyingly long and uneven. I’ll probably read it again one day anyway, though.

The Orwell collection has some really good staples in it that I go back to every once in a while, and the word origins book I’ve owned for years. I don’t open it frequently, but I know that as soon as I decide to get rid of this book, I’ll be desperate to look up a word the next week.

The Golden Bough I bought in college because T.S. Eliot mentioned casually in a footnote to The Wasteland that this multi-volume landmark work of anthropology (my copy is abridged) would make a nice primer for understanding his own poem, which I found pretty galling. Still, I was curious about the source material, so I got Frazer’s book and read about half of it. It’s fascinating but pretty dry, and boy does he ever just dump a relentless load of observations on you. My son recently mentioned that he had started up a game of “The Fisher King” with the neighborhood kids (none murdered, thankfully), and I asked him where the heck he had heard of such a thing. It was apparently part of a Doctor Who episode we watched at some point, but I took the opportunity to explain Frazer’s book (whose raison d’être was basically to get to the bottom of the weird fisher king myth, which had no basis he could find in Western mythology) and read some of it aloud, which was of course received about as well as you’d expect. Anyway, it’s a neat reference to peek at from time to time.

The Yearling I bought a year or so ago after reading Watership Down to the family and thinking that another animal book would be appealing, but when my daughter figured that the deer probably dies and said she wasn’t into it, so I’ve put it aside for now.

Finally we have the good old Norton English literature anthology that goes from the Romantics and up into Modernism. I don’t often go to this one, but I can’t imagine I’ll ever get rid of it. This was the textbook for my first literature class in college (at a time when studying literature hadn’t occurred to me as a thing I might like — it was to fulfill a requirement), so even if I don’t love all the work in it, it’s kind of a landmark book for me, and every once in a while, one does want to go back and browse through some notable Wordsworth, so why not keep it on hand?

The next compartment of my shelves brings the transition from green to blue, where I’m sure you’ll be shocked to learn that there are more books somehow connected to Wallace and Melville.

Bookshelves #4

This is maybe one of the best sections of my bookshelves. The colors are lovely, peaceful, Springish, and some of my favorite books and authors pretty much by happenstance find themselves grouped here.

I’m a horrible phonetographer, so that top book, Jesmyn Ward’s Salvage the Bones, is partially cut off, but it was one of my favorite books I read in 2016, and she’s an author I’ll most definitely go back to. Lauren Groff too I was first exposed to in 2016, in a random purchase of another of her books that we’ll see later if this series makes it to shelf section #19. I liked Arcadia a lot too, and Groff is another author I’ll likely follow until one or the other of us is dead. I had never read much Oates, and I picked Wild Nights up at a library sale and loved it. These stories about historical figures really captured my attention, as did, apparently, a story of hers a few years ago in Harper’s. Late last year, I picked up her We Were the Mulvaneys from the library, and it was pretty close to flawless. Finally, in the consistently solid list of yellow/green books I read in 2016 by women, we have Mary Doria Russell’s Epitaph. This was another random shelf browsing purchase, and one I didn’t anticipate liking all that much since it’s historical fiction about the wild west, neither of which especially interests me (my project was to expand my horizons and read things by not-white-dudes and get out of my usual reading habits, so this one seemed to fit). But the book was really good. She put me right there with the Earp brothers and Doc Holliday, and I liked it enough that just last week I burned through her Doc, which I also enjoyed thoroughly.

I’ve read two or three by Nicholson Baker now and really liked The Anthologist, though I may have liked The Traveling Sprinkler more, if only because it taught me about this really cool lawn watering tool I hadn’t known about and that’s such a beautiful metaphor for any number of things. Woe is I is one I’ve owned for twentyish years and never go back to, but it’s just the kind of nerdy, sort of subversive, book I like, and I’ve never wanted to get rid of it.

Above, I spoke of Ward as an author I would read more by and Groff as somebody I’d track for as long as she or I one draw breath. Upon reading all of David Mitchell’s early work, I held the same opinion of him. Cloud Atlas dazzled me on the whole even when some of its parts disappointed me (which disappointment I believe, to be clear, was by design), and The Thousand Autumns of Jacob DeZoet was beautiful. I liked his other earlier work well enough. He has pretty much lost me starting with The Bone Clocks, though, which you won’t find on these shelves. Ever. If you sneak it onto my shelf, I will hunt you down and destroy you and those you love.

Tucked in beside Cloud Atlas is The Crucible, which I remember reading and liking in high school, though this is probably another one I’ve inadvertently stolen from my high school teacher wife, since I don’t know that I liked it enough that I figured I’d read it again 20 or 25 years later. Maybe it’s time, though.

This brings us to good old Thomas Hardy. Gosh I loved this guy when I was in college. I was a sucker for a ruined maid in a pastoral setting, I suppose. When I was 20 or maybe 21, I remember saying poetically to my mom something like (perhaps here slightly exaggerated, but honestly not by much) “I should think that I had been born in the wrong epoch and locale, dear mother, for I find these American brutes to be so dreadfully boorish and the modern times, with the telly and these so-called ‘compact discs,’ so woefully lacking in the culture upon which we few literates deign to survive.” So of fucking course I liked Hardy. I also read loads of his poetry and can still recite some of it by heart. I used to own a volume of his selected poems and a number of his novels, but I hadn’t read many of them in a long time. When I found this book of his collected poems at a library sale a few years ago for like a dollar, I couldn’t resist. A few years ago, I found myself leafing through the poems of this old curmudgeon of a poet well known for having a gloomy outlook on life and decided to start up a little humor/literature site offering the occasional poem text with a brief and sometimes silly or sarcastic and sometimes ever so slightly serious explication of or appreciation of the poem. I tired of it pretty quickly, though. If anybody wants to tag-team a resurrection of the site, let me know!

I forget how I learned about Lydia Millet, but I harbor a suspicion that it was via the lovely little lit magazine one story. I read a longish novel of hers about Oppenheimer and his cohort time traveling to more or less the present that I sort of hated, but this one I vaguely recall being kind of lovely and haunting. I don’t know that I’ll ever read it again, though upon a quick inspection, I see that I dog-eared a few pages, so it may be worth a closer look some other time. Sometimes I keep a book to remind me later that I’d like to check in on the author in a few years, and this is probably such a book.

This shelf started with a bunch of really great women writers, and it’s ending with a bunch of old white dudes, mostly dead. Gaddis is one of the smartest, funniest, and simultaneously most serious writers I’ve ever read, and J R is one of those books that kind of tears down everything you know about how to read and makes you learn how to read in a new way. It goes from slapstick to existential frustration within a single line or two populated by three or four voices sometimes, and if you don’t love this book, you will almost certainly hate it. I reread it every five years or so. Gaddis claims not ever to have read Ulysses, but this is sort of the Ulysses of the mid-20th century, and I think he’s lying. I’ll skip a couple of books ahead in this shelf to Gaddis’s The Recognitions. It’s a book in part about forgery and in larger part about art (in various media) and I suppose about authenticity. There are parts of it I like a lot and parts I kind of want to do the “get on with it” gesture with my hand while reading, and it’s the book people tout as Gaddis’s big important book, but for me, J R is the one to read. I wrote a bit about it upon a reread a few years ago here.

Now we take two steps back to Gass (a great defender of and friend to Gaddis), a philosopher and historian and essayist and novelist who is mostly just too smart for me. I find him a bit tedious and didn’t love Omensetter’s Luck, though I intend to read it with a different set of life and literary experiences in a decade or so to see how it strikes me then. If I’m not mistaken, the voice in this book informed the voice David Foster Wallace used in a really fantastic story titled “John Billy.” Of the I believe three novels and one collection of essays I’ve read of Gass’s (with one essay collection in nightstand purgatory if I’m not mistaken), my favorite thing is a long beautiful sort of plains pastoral section in The Tunnel, which I’ll confess was otherwise for me a real kick in the nuts of a book (more on that, perhaps, if we get to shelf #10).

Next up is another Saunders book. I love his stories (though they can feel a little overworked) and keep all of his books and will one day do a big close reading of his whole body of fiction.

Finally, we have Moby-Dick, of which I have a number of incarnations scattered throughout the shelves. This is the recognized annotated scholarly text with hundreds of pages of historical and literary context and criticism, textual variants, etc., and it’s all really great stuff (the three Moby-Dicks, you say?). I organized an online group read and wrote (with others — these posts are not all mine) a lot about the book a few years ago here. I try every once in a while to make my family let me read the book aloud to them (they resist, the philistines), and there’s a kid book version (I don’t love it, honestly) that I used to make at least my kids let me read to them on my kids’ shelves, and I have a Moby-Dick tattoo and a lot of Moby-Dick art. It’s an important book to me, and I guess I’ll keep it.

Actually finally, tucked in the very edge there, is a yellow envelope containing a brief postcard David Foster Wallace kindly wrote back to me many years ago in response to a short letter I had sent him. There’s nothing of any substance in the message, but it’s something of a relic to me, given the influence his work has had on my way of thinking about and existing in the world, as discussed briefly in the notes for shelf #3 and elsewhere at sometimes significant length on the internet.

This shelf was a humdinger, representing in one form or another some of the most influential books and authors in my adult reading life, and pointing to some folks I hope to be influenced by and to continue appreciating new work by for years to come. Next up we’ve got more green and a fifth consecutive section of shelf featuring work by, about, or significantly influencing or influenced by Wallace.

Bookshelves #3

Now we come to the orange overflow and yellow shelf. Follow this shelf series here if you’re game.

I don’t remember the Jhumpa Lahiri book very well, though I read it just last year. I did dog-ear a couple of stories, so I must’ve figured I’d revisit them one day. A Lesson Before Dying is a good, important, difficult-to-read book. The Lester Bangs is a departure from the sort of thing I usually read. A lot of the pieces in it were meh, a lot were really funny, and here and there were really great ones. It’s not one I’ll ever reread all of, but I may go back to dog-eared columns here and there.

You Bright and Risen Angels is I believe the only Vollmann book I’ve ever finished, and I didn’t really like it. I’ll probably never read it again and should probably get rid of it. The Saunders was ok, but I keep Saunders, period. I haven’t read Five Skies yet but have heard good things about Carlson. The Marquez was pretty good (not as good as Solitude), and maybe I’ll go back to it one day.

Infinite Jest changed the way I live in and think about the world and validated the way I inhabit my own head. I’ve owned a couple of copies over the years, but this was my first, which I first read I guess 19 years ago or so, and which I’ve read cover to cover I believe 6 times, with a few partial reads scattered in there as well. I wrote a lot about it a few years ago here (other authors on the site used the same tag, so all those posts aren’t mine) and which I started to write about some more here as I reread a couple of years ago. Wallace has had a more profound influence on who I’ve become as an adult than probably anybody else. This book is definitely a keeper.

Next to Wallace is Pynchon’s Mason & Dixon, which I false started on maybe 13 years ago and finally read in full two or three years ago. It’s surprisingly accessible and fun.

Julian Barnes is smart and writes well, and I’ll almost certainly look back over his work over time, so The Lemon Table stays. Tucked in next to that one is DeLillo’s The Body Artist. I have really mixed feelings about DeLillo. For example, I thought his Falling Man was terrible, and I rarely love any of his books, but then you come to one like Underworld that’s hard and sometimes a little uneven but that grapples with so much and is at times virtuosic, and you can’t discount him. This little book was evocative and kind of mesmerizing, and it had a really good payout for the time I invested in reading it.

I had meant to read Lethem for years and finally picked up a few books in 2015. By and large I think he’s great, and this weird, fun little book was a treat. I don’t know that I’ll ever go back to it, but I’m not ready to part with it yet (I have a knack for selling a book back and then deciding a few months or years later that I desperately need to take another look, at which point I often enough buy it back again). I didn’t love Gaddis’s Carpenter’s Gothic (it’s the worst of his novels), but I keep Gaddis. The slender Moby-Dick title is a comic book version that a friend gave me many years ago, and I keep Moby-Dick. I used to group Moby-Dick books together on the shelves (as I did Wallace), but now I scatter them, each, like good old Ishmael, its own sort of orphan.

I rarely read nonfiction and even more rarely read nonfiction about work or business stuff, but I moved into a leadership position in my job a couple of years ago and picked up a few relevant books to read about teamwork, leadership, etc. Work Rules was interesting enough that I thought I might go back and read my scribbles and the things I had underlined from time to time (and I was right).

Finally, there’s Libra, which I may have read 15 years or so ago and sold back and forgotten and later bought back with a different cover. I forget. I do tend to nibble at DeLillo’s work, and I intend to read this one (again?) some day, though I’m not very excited about it.

Next up, the pale yellows and greens.

Bookshelves #2

For number two in my bookshelves series, we’re transitioning from red to orange. As usual, the top is stacked mostly with newer arrivals. The Vegetarian was so puzzling to me that though I didn’t absolutely love it, I thought I’d keep it around for a potential reread one day. A friend and colleague gave me The Jam Fruit Tree, which I read late last year to get some more background on the Burghers in Sri Lanka, and his sharing it with me was meaningful, so the book stays on my shelves. The Diving Bell and the Butterfly was recommended by another coworker a few years ago and passed along to me through yet another coworker (we did a book swap). I didn’t love it but figure I should pass it along to someone else, or at any rate that it’s not mine to sell. I’ve owned this copy of Europe Central for years and never read it. I want to like Vollmann but have real trouble liking his stuff, so this is one of those mountains I figure I’ll climb one day. It sits atop the stack because I found it buried in my nightstand drawer recently, where it had sat for years.

Nathaniel Philbrick wrote a pop history of the whaler Essex, which was sunk by a whale and figured into Melville’s Moby-Dick, and the slim dark red book at far left is his defense of reading Moby-Dick, which is a nice little read. The Morgesons is awful. I read it last year as part of a project to read non-white-dudes, and a professor I had spoken with at a community Moby-Dick discussion group suggested this and Beulah (not pictured) as good specimens. Given how dry The Morgesons was, I haven’t had that heart yet to pick up the other from the shin-high stack (in front of this shelf, on the floor) of things I haven’t yet had the heart to read but probably will. I’m not sure why I’m keeping this one. Speaking of tough antiques that it can be hard to get into, maybe 20 years ago, I read the first three fourths or so of The Brothers Karamazov before giving up and ultimately selling the book. A couple of years ago, I decided to try it again, finished it, and figured I’d keep it, as I’ll probably dip back in at some time in the next 20 years. The drama book is a textbook containing a number of non-Shakespearean Renaissance plays, of which my favorite is The Knight of the Burning Pestle (which is basically like a venereal disease joke right there in the title). Before I failed to get into grad school for literature and went off to earn my fame and fortune working on the internet instead, I had hoped to study this stuff as my life’s calling, so I suppose it’s worth keeping a couple of inches of shelf space even though I rarely go back to the plays these days.

I have not read The Inkling by Fred Chappell, but I did go listen to him at a poetry reading when I was in school, and a very young Chappell taught my mother English at UNCG. I forget how I came by this book, but I’ve always meant to read it. It’s not inscribed to my mom or anything, so I suspect it’s not hers and that I just found it at a book sale sometime. This is a weird one because I attach no sentimental value to Chappell or to the book in particular or to my mom’s brief overlap with Chappell, but the book nevertheless represents some sort of tie between my mom and the studies that were so important to me at a time when I was certainly growing more distant from her, so while I don’t ever think about the book or really any of what I’ve just said, when I think about getting rid of the book, I decide not to.

The short story anthology satisfies my penchant for such anthologies. I generally like Zadie Smith’s work and will probably read White Teeth again one day. Half of a Yellow Sun was the best book I read in 2015 (and the best I’ve read since, an among the best I’ve ever read), and you should read it. I think this copy of The Canterbury Tales belongs to my wife. I haven’t read a significant number of the tales since high school but was reading “frame tales” a few years ago and had intended to go back to Chaucer as a purveyor of them, so I must’ve stolen this one from my wife at the time.

The Broom of the System is an obvious keeper for this fan of Wallace. It’s certainly not my favorite of his books, but I do have a fondness for it. I loaned out my first copy many years ago and never got it back, so this is a replacement whose spine I haven’t cracked. The Zak Smith book is a book of illustrations of Gravity’s Rainbow, one for every page. It was an art project a few years back that inspired Matt Kish’s similar Moby-Dick project (more on that when we get to shelf #10). Some of the art here is really neat, and some is I suppose profane (as of course is much of Pynchon’s novel). I walked through this book page by page the last time I read GR a few years ago, and it was neat. Finally, in this little postmodernish section of the shelf (not so shelved by design), we have a slim book by John Barth that I have not read but intend to. I tend to like Barth more in the abstract than in his particulars, but I haven’t read much of his shorter work, so maybe the shorter particulars will do more for me.

Next up, we move into the yellows!