{"id":734,"date":"2010-10-14T15:56:22","date_gmt":"2010-10-14T15:56:22","guid":{"rendered":"http:\/\/www.artsjournal.com\/plainenglish\/wp\/2010\/10\/cutting_edge_reading.html"},"modified":"2010-10-14T15:56:22","modified_gmt":"2010-10-14T15:56:22","slug":"cutting_edge_reading","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/plainenglish\/2010\/10\/cutting_edge_reading.html","title":{"rendered":"Cutting Edge Reading"},"content":{"rendered":"<p><!--StartFragment--><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><o:p>&nbsp;<\/o:p><\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\">It&#8217;s been a good while since I&#8217;ve posted,<br \/>\nchiefly because limited mobility has made it difficult to get to London and<br \/>\ntake part in the capital&#8217;s cultural life. It seems that I need a new knee. I<br \/>\nwish I could say that I wore out the old one by exercising it too much, by<br \/>\nmarathon-running or even ballroom dancing. But of course, however exquisite,<br \/>\nthese would be fibs. The truth is that the absence of cartilage in my right<br \/>\nknee is the result of a car crash I had in 1957. Not only was I the bad driver,<br \/>\nbut the parents&#8217; car I totaled was a design icon, a 1951 Raymond Loewy<br \/>\nStudebaker.&nbsp;<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" alt=\"Booker shortlist 2010.jpg\" src=\"https:\/\/i0.wp.com\/www.artsjournal.com\/plainenglish\/Booker%20shortlist%202010.jpg?resize=553%2C369\" width=\"553\" height=\"369\" class=\"mt-image-none\" style=\"\" \/><\/span><\/p>\n<p><!--EndFragment--><\/p>\n<p><!--more--><br \/>\n<!--StartFragment--><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\">Childhood friends will remember that I<br \/>\nspent about 10 months in hospital conditions, and that my leg was only saved<br \/>\nbecause clever surgeons performed a then-radical operation attaching a metal<br \/>\nplate with four screws to what was left of my shattered femur. I might have<br \/>\nhoped that, five or six years later, when I was called up to be conscripted<br \/>\ninto the US Army, this injury would make me ineligible. But no, the Army<br \/>\nsurgery protocol said that the only remedy for injuries like mine was<br \/>\namputation. I had a leg; ergo I could not have sustained the injuries described<br \/>\nin my medical records. QED (it was <i style=\"mso-bidi-font-style:normal\">very <\/i>radical<br \/>\nsurgery). <\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>Fortunately,<br \/>\na sympathetic medical examiner (who happened to be the father of schoolfriends,<br \/>\nand a mate of the surgeons in question) discovered evidence of asthma in the<br \/>\nsame records (though I don&#8217;t think I&#8217;ve ever had an asthma attack), and I was<br \/>\nexempted from being drafted into the 101<sup>st<\/sup> Airborne Division, which<br \/>\nmarshaled at Fort Campbell, KY, and was then sent to Vietnam.<span style=\"mso-spacerun: yes\">&nbsp; <\/span>This also prevented me from facing a<br \/>\nmoral crisis, because I was probably the only kid in Kentucky then who knew<br \/>\nabout the &#8220;police action&#8221; in Vietnam, and I was so opposed to it that I might<br \/>\nwell have refused to go.<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>This<br \/>\nis an awfully long-winded way of saying that the reason I am on crutches for<br \/>\nthe rest of the month is that my current young Oxford surgeon insisted on<br \/>\nremoving the souvenir metal plate before doing the new knee. He allowed me to<br \/>\nsee the trophy as I was recovering from the anaesthetic, and I deeply regret<br \/>\nthat I wasn&#8217;t allowed to keep the beautiful sculptural object, which was not<br \/>\nonly unrusted, but even shiny despite its 53 years&#8217; attachment to my person.<br \/>\n(In Britain such objects have to be incinerated &#8211; something to do with the<br \/>\nprions that are suspected to cause BSE and Creutzfeldt-Jakob disease, and the<br \/>\nfact that nobody yet knows what a prion is and how it behaves.)<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>During<br \/>\nthese weeks I&#8217;ve managed to get to the theatre and opera very occasionally, and<br \/>\nto a gallery or two; but mostly I&#8217;ve caught up on my reading. I had the time to<br \/>\nread most of the longlist for <a href=\"http:\/\/online.wsj.com\/article\/SB10001424052748703843804575534060196380610.html\">the Man Booker prize<\/a>. And though I was wrong about the winner (I<br \/>\nplumped for Peter Carey&#8217;s <i style=\"mso-bidi-font-style:normal\">Parrot and<br \/>\nOlivier in America<\/i>, not because I was second-guessing the judges, but<br \/>\nbecause I thought it the best book on the shortlist), Howard Jacobson&#8217;s <i style=\"mso-bidi-font-style:normal\">The Finkler Question<\/i> is, as I said in my<br \/>\npreview piece in the <i style=\"mso-bidi-font-style:normal\">Wall Street Journal<\/i>,<br \/>\na reflective and touching book.<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>I&#8217;ve<br \/>\nalso read the letters of my friend the late Bruce Chatwin, <i style=\"mso-bidi-font-style:\nnormal\">Under the Sun<\/i>, edited by his widow, Elizabeth and his biographer,<br \/>\nNicholas Shakespeare. If you happen to read the notes to p.269, about Bruce<br \/>\nmeeting, at a wedding in June, 1977, a 27-year-old Australian stockbroker<br \/>\ncalled Donald Richards &#8211; with whom he was infatuated if not in love for the<br \/>\nnext five years &#8211; it was my wedding party. At least three of the guests,<br \/>\nincluding Donald and Bruce, died of Aids &#8211; a very grisly memory of an otherwise<br \/>\nhappy and memorably funny occasion. Many of the reviewers of Bruce&#8217;s &#8220;letters&#8221;<br \/>\nhave remarked that Bruce&#8217;s literary reputation is in decline. Is that true? Do<br \/>\nyoung people no longer buy his books? In my own memory there are stacks of<br \/>\nthem, in paperback translations, in bookshops in Spain, France and Italy. How I<br \/>\nwish I&#8217;d bought a copy of each.<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>The<br \/>\ndiaries of Deborah, the Dowager Duchess of Devonshire , <i style=\"mso-bidi-font-style:\nnormal\">Wait for Me!<\/i>, has also been beside my bed. It&#8217;s prefaced by a &#8220;Note<br \/>\non Family Names,&#8221; which glosses the nicknames the Mitfords used for each other<br \/>\n&#8211; and it&#8217;s as hard to follow as the cast of characters of <i style=\"mso-bidi-font-style:\nnormal\">War and Peace<\/i>. I love Debo&#8217;s wide-eyed innocence about her intimacy<br \/>\nwith the Kennedy family, and the proximity to powerful people of her and her<br \/>\nsisters. My best friend at Harvard was her husband&#8217;s cousin, and he socialized<br \/>\nwith the Kennedys as well; but we thought nothing of it then &#8211; I suppose most<br \/>\nof my friends at Harvard were only one or two degrees removed from the<br \/>\nKennedys. But Unity, Diana and Hitler! There&#8217;s a social set with a difference.<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\"><span style=\"mso-tab-count:1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/span>To<br \/>\nbe published in<span style=\"mso-spacerun: yes\">&nbsp; <\/span>few days, <i style=\"mso-bidi-font-style:normal\">What Makes a Masterpiece: Encounters with<br \/>\nGreat Works of Art<\/i>, edited by Christopher Dell (Thames &amp; Hudson \u00a324.95)<br \/>\nis a perfect counterweight to Neil MacGregor&#8217;s just-ending BBC Radio 4 series, <i><a href=\"http:\/\/www.bbc.co.uk\/news\/uk-11531338\">A History of the World in 100 Objects<\/a>.<\/i><\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"EN-US\">&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;This is the greatest use of radio ever &#8211;<br \/>\nincluding the celebrated broadcasts during WWII, or the 1950s soap operas, the<br \/>\nquiz programmes of later decades and even <i style=\"mso-bidi-font-style:normal\">Desert<br \/>\nIsland Discs<\/i>. MacGregor, the director of the British Museum, has described<br \/>\n100 objects in the BM, got guest speakers to comment on their significance, and<br \/>\nsimply held every educated person in the country spellbound for several months,<br \/>\ndespite not being able to <i style=\"mso-bidi-font-style:normal\">see<\/i> what he<br \/>\nwas talking about. Stupendous. In the handsome <i style=\"mso-bidi-font-style:\nnormal\">Masterpiece<\/i> volume, seventy well-chosen writers (some of them<br \/>\nartist themselves) justify their choice of a work of art in a few hundred<br \/>\nwords. Tom Phillips chooses &#8220;The Mycerinus Triad,&#8221; Marina Warner Bernini&#8217;s &#8220;The<br \/>\nEcstasy of Saint Teresa.&#8221; If asked, I&#8217;d have chosen a painting by Howard<br \/>\nHodgkin. Come to think of it, why wasn&#8217;t Hodgkin asked to choose a work<br \/>\nhimself?<\/span><\/p>\n<p><!--EndFragment--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; It&#8217;s been a good while since I&#8217;ve posted, chiefly because limited mobility has made it difficult to get to London and take part in the capital&#8217;s cultural life. It seems that I need a new knee. I wish I could say that I wore out the old one by exercising it too much, by [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-734","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbv6zV-bQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/posts\/734","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/comments?post=734"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/posts\/734\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/media?parent=734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/categories?post=734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/plainenglish\/wp-json\/wp\/v2\/tags?post=734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}