The Glass Book and the Last Book

In this New Statesman essay, John Sutherland moves from the faux-Victorian fantasy-folderol of G. W. Dahlquist's The Glass Book of the Dream Eaters (which I found unreadable) to the alarms raised by Bibliotheque national president Jean-Noe Jeanneney in Google and the Myth of Universal Knowledge: Google's (so far successful, so far very rapid) attempt to digitalize 15 million books will inevitably lead to the decline of languages like French.

More important than the typically Gallic complaint about our American digital-dominance are M. Jeanneney's points about what the largest book marketing project ever undertaken will mean to books and reading in general: the "de-individuation" of books (digitally, they'll all be alike -- whereas you actually do judge books by their covers, and their sizes, and their typefaces), the bulk data processing that reading is becoming (more data, less discrimination) and the Americanization of culture (our prejudices, our tastes, our allegiance to free market values over everything else).

In this context, The Glass Book, Mr. Dalquist's ornate but empty pastiche, figures as nostalgia -- but also, Mr. Sutherland contends, as an ingenious, risky leap forward. Despite the cheat ending, the essay is thought-provoking.

A tip of the hat to Bill for prodding me into reading it.

December 3, 2006 9:46 AM | | Comments (0)

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Richard Price's best novel since Clockers, Lush Life is a slice of life on the Lower East Side, complete with the ghetto kids, the new bohemians, the old Jews and the cops. A restaurant manager at 35 fears he's no longer the wannabe artiste who'd turn into a full-blown artiste some day. When he sees a younger version of himself get shot during a mugging (and then gets blamed by the cops), he comes apart. Price takes these cultures and stares through all of them. Lush Life is a crime novel, a terrific literary thriller, a sampler of Price's namebrand talents with dialogue and deadpan humor. Price is after more than just law-and-order, crime-and-punishment, justice-is-served. This is a portrait of big-city America..You think The Wire, Law and Order, the old Homicide are the best TV has to offer? This is all that -- between covers.

In Life Class, Booker Prize-winner Pat Barker returns to World War I, the setting for her magnificent Restoration trilogy. Where those novels followed shell-shocked poets Siegfried Sassoon and Wilfrid Owen through their convalescence, Life Class follows three painting students (based on real Slade School artists Christopher Nevinson and Paul Nash) as the war approaches. Elinor wants little to do with the war or with men: They're distractions from her art. Kit, a hot, young futurist, is primed for the war's industrialized destruction, while Paul flees his working-class background. As usual with Barker, the sexual relationships, war-time atmosphere and gruesome battlefield details are brilliantly conveyed: Her prose is lean but lyrical, compassionate yet cool-headed. No character is quite as compelling as Regeneration's bitter bisexual, Billy Prior, but the Great War's upheavals in art and combat, sex and class, provide Barker with material for exceptional historical novels. A new trilogy? One hopes so.

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