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May 20, 2008

Comments

nk shapiro

Wow, that is hilarious. You'd think a writer would lie the other way -- owning up to loads of hard work at revising stuff that is in reality merely dashed off and abandoned.

But maybe in today's world, or at least in the strange brain of Frey, it makes one seem more hip to claim to be a dash-off artist than to claim to be one who takes pains.

whatever

Well, having watched the clip as well, I have to say, in his defense, he claims to believe in the old Kerouac/Ginsberg canaard "first thought/best thought." That Kerouac spent two years rewriting On The Road, maybe Frey doesn't know about that, maybe it doesn't quite fit in with his ethos.

At the same time, he's trying to write a big sprawling book, a feat which demands a certain amount of organization and internal thought. My own guess is that "first thought/best thought" doesn't quite correspond with the type of structuring and planning that a big sprawling novel demands. Also you want to live with characters and get to the bottom of them for those types of novels, because we have to care enough to follow them through the sprawl.

Doesn't seem like the best idea to me, but then again, I'm not Janet Maslin so what do I know?

Shya

I don't know about it making him more hip, but it probably helps inure him to criticism.

tod goldberg

Just from a more pragmatic position, I call bullshit: He does have to go over the copyedits, the editorial margin comments, all that stuff when the book comes in from his publisher in the various stages of development. I suppose he could farm that sort of thing out, though I doubt it, and especially with his 1st book, which was before he was James Frey the Experience and was just James Frey that first time writer. And then lets not forget that he's a screenwriter, too -- I have to assume he rewrites and revises when he does that.

martha southgate

Couldn't have said it better myself, Mark. And on another note, sorry to hear about your sinuses. Get well soon.

John Shannon

What I wonder about is why the Times seems to feel a need to have yet another article or review or feature about Frey every day. Was it the million and a half bucks?

Steven Augustine

Maybe he *can't* read... has anyone considered that possibility?

Jon

Just confirms that he's both a compulsive liar and a bad writer.

So sad that any of us waste time on this. Myself included - a little.

Dave

Bullshit. But didn't Dave Eggers say something similar about Heartbreaking Work? Something about not rereading sections? Maybe he meant he didn't edit some of the more po-mo stream of consciousness paragraphs (if I'm even remembering right), and that's still a far cry from what Frey is claiming.

whatever

Again, in the clip, he says that he rewrites what his editor tells him to look at. Presumably this statement could cover rewrites, proofs, and first pass. This doesn't seem like the most prudent way of treating your work, and it's pretty much inconceivably, as fucktard said, that he would have had such a cavalier attitude about his first book. But it's possible.

tod goldberg

I like that I am now just "fucktard" -- I'm not opposed to it, but I suspect my wife might start being upset with being married to Fucktard when she's grown so accustomed to Idiot...

Justin Griffeth

I don't know if it's already been mentioned, but Vanity Fair did an interesting bit on Frey: http://www.vanityfair.com/culture/features/2008/06/frey200806. It's a look at the behind-the-scenes from his point of view, and, hey, he's human just like the rest of us and the characters in our favorite books who are neither good nor evil. I haven't read either book, nor am I a fan, but why not give it a look?

Steven Augustine

"I haven't read either book, nor am I a fan, but why not give it a look?"


Why not shower with cat vomit?

MissVolare

Jeepers! He must be Ironman! The most unbelievable part is the "9-5" quote. I have never heard of a writer able to sustain that kind of endurance, not even Simenon or my buddy bill.

barry graham

of course its bullshit. everything that comes out of a writer's mouth concerning their own fiction and process is BS. its part of the fiction. but you know, i know, this is what he wants. this conversation. and we all gave it to him.

Justin Griffeth

I haven't showered with cat vomit. Never had quite enough on hand at any given time.

I was suggesting reading the article, not the books.

Steven Augustine

"I haven't showered with cat vomit. Never had quite enough on hand at any given time."


There are two ways of doing it; the first (and the easiest)involves having a very close friend eat a very large cat...

frebcgt

I've read the Vanity Fair article and was apalled by how sympathetic it was. The author seemed to fall for the idea that just because Frey has some "cool friends, he is somehow a good writer or absolved from the literary crimes he's committed-- you know, being an utterly cheesy writer who mined other people's pain for fun and profit.

Ian Wilson

At last, a Mozart of literature who takes dictation directly from god which requires neither perusal nor revision. Any typos are heaven-sent. All mistakes divine. Now I understand why the first book was called memoir instead of fiction. Too bad Oprah didn't realize she was dealing with a messenger instead of a mere man. That's a lot of m-m-m-m-s.

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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."