May 23, 2007



Bezmozgis's essay is stunning. So much to admire about the piece I don't know where to start.

CPO Sharkey

Heard Rampersad being interviewed about his Ellison book yesterday. He sounds a lot like Marvin Martian - that is, as Mel Blanc voiced him in his first appearance, rather than the later, more adenoidal one.


Jim, I completely agree. It completely floored me when I read it and have been thinking about it ever since. Breathtaking, really.

Drew North

Perhaps I missed it in the coverage here in the previous days, but thought I would pass along the following - it is James Woods reviewing Cormac McCarthy's The Road.


Apologies if this is old TEV news.

Steven Augustine

"...As a novelist, he had lost his way. And he had done so in proportion to his distancing himself from his fellow blacks."

This is the kind of racial moralizing we could all do without, though, isn't it? Rampersand means well, I'm sure, but fixing the health of Ellison's talent to his fidelity to someone *else's* idea of the proper "distance" from his "people" is the kind of reductionist thinking that heaved Ellison into the pantheon with only one real novel (of questionable accomplishment)to his name in the first place.

The comments to this entry are closed.


  • The Elegant Variation is "Fowler’s (1926, 1965) term for the inept writer’s overstrained efforts at freshness or vividness of expression. Prose guilty of elegant variation calls attention to itself and doesn’t permit its ideas to seem naturally clear. It typically seeks fancy new words for familiar things, and it scrambles for synonyms in order to avoid at all costs repeating a word, even though repetition might be the natural, normal thing to do: The audience had a certain bovine placidity, instead of The audience was as placid as cows. Elegant variation is often the rock, and a stereotype, a cliché, or a tired metaphor the hard place between which inexperienced or foolish writers come to grief. The familiar middle ground in treating these homely topics is almost always the safest. In untrained or unrestrained hands, a thesaurus can be dangerous."


  • The Bookshop by Penelope Fitzgerald


    Penelope Fitzgerald's second novel is the tale of Florence Green, a widow who seeks, in the late 1950s, to bring a bookstore to an isolated British town, encountering all manner of obstacles, including incompetent builders, vindictive gentry, small minded bankers, an irritable poltergeist, but, above all, a town that might not, in fact, want a bookshop. Fitzgerald's prose is spare but evocative – there's no wasted effort and her work reminds one of Hemingway's dictum that every word should fight for its right to be on the page. Florence is an engaging creation, stubbornly committed to her plan even as uncertainty regarding the wisdom of the enterprise gnaws at her. But The Bookshop concerns itself, finally, with the astonishing vindictiveness of which provincials are capable, and, as so much English fiction must, it grapples with the inevitabilities of class. It's a dense marvel at 123 pages, a book you won't want to – or be able to – rush through.
  • The Rider by Tim Krabbe


    Tim Krabbé's superb 1978 memoir-cum-novel is the single best book we've read about cycling, a book that will come closer to bringing you inside a grueling road race than anything else out there. A kilometer-by-kilometer look at just what is required to endure some of the most grueling terrain in the world, Krabbé explains the tactics, the choices and – above all – the grinding, endless, excruciating pain that every cyclist faces and makes it heart-pounding rather than expository or tedious. No writer has better captured both the agony and the determination to ride through the agony. He's an elegant stylist (ably served by Sam Garrett's fine translation) and The Rider manages to be that rarest hybrid – an authentic, accurate book about cycling that's a pleasure to read. "Non-racers," he writes. "The emptiness of those lives shocks me."