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March 26, 2008

Comments

Ron Hogan

I've been told you should eschew an idea 32 times before you finally swallow it!

Levi Stahl

"Eschew" was the one that bugged me, too. The others are essentially cases of imprecise usage stripping perfectly good words of useful, specific meaning. The objection to eschew, on the other hand, was based entirely on the statement that one would never use it in conversation, which seems a far less sound reason to object.

CesarBruto

The incidence of adjectives in a review is a function of its length limits. If I only get 800 words or less, I am strapped to the use of adjectives. And there are only so many adjectives.

Go Wao! Go Tinajero!

James

I wrote a review a while back for Three Apples Fell from Heaven that described it as an excellent treatment of family, memory and loss, which it is, but I felt compelled to throw in a mention of how cheap that particular currency has become.

And since Cesar has already turned this into a ToB thread, I'll follow along. The Diaz/Bolano semifinal should be the final, and Ferris/McCarthy should be fighting it out for third and fourth.

Garth

What, no "limn?"

Brian

"The God I want to believe in has a voice and a sense of humor like Denis Johnson's." Talk about exaggerated praise! When I first read this recommendation, I imagined that upon reading this book pale, diaphanous smoke would engulf me and that the world would open up to me. Who am I, Abraham? Yes, praise is often exaggerated and suffers terribly from misuse and malapropism. It's too bad that negative comments often suffer from the same shortcomings.

Brian

"The God I want to believe in has a voice and a sense of humor like Denis Johnson's." Talk about exaggerated praise! When I first read this recommendation, I imagined that upon reading this book pale, diaphanous smoke would engulf me and that the world would open up to me. Who am I, Abraham? Yes, praise is often exaggerated and suffers terribly from misuse and malapropism. It's too bad that negative comments often suffer from the same shortcomings.

Cesar Bruto

I'm totally withcha Jaime. Los Suicidas vs. The Mongoose should have been the final.

Next year 2666 vs. The Lazarus Project?

2666 vs. What Can I Do When Everything's on Fire?

2666 vs. Your Face Tomorrow (Volumes I,II, and III)?

And how can I not turn any thread into a ToB thread?

ToB is so freeking exciting. It's the first thing I check when I wake up. It's like, super compelling.

Cesar Bruto

Oh yeah:

I am never (never?) reading (since when you read?) anything (our nada who art in nada) by that Elizabeth Kiem person (que bruta!).

Matt Pearce

They should throw in "bracing."

Steven Augustine

"eschew: No one actually says this word in real life. It appears almost exclusively in writing when the perp is stretching for a flashy synonym for avoid or reject or shun."

Tin-eared bluenoses should eschew the writing of proscriptive doodles about writing. No word is automatically off-limits, as every word carries its own sound, rhythm and shade of meaning. It's not the *word* itself, but the writer's combination of words, that makes a cliché (or not). Otherwise, we could never use the words "life", "love", "food", "the", "and" and so on...

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TEV DEFINED


  • 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."

SECOND LOOK

  • The Bookshop by Penelope Fitzgerald

    Bs

    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

    Rider_4

    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."