Four Books I Read This Winter

Without the book club that I joined last year, this and the previous post about my reading habits would probably be shorter. We used to meet biweekly. Since December, to accommodate the professor's teaching schedule, our meetings went monthly. I read at the same pace, but now I eagerly anticipate the second Wednesday of the month.

Our club's selection this go-round was actually one that I suggested. I'd wanted for several years to read Invisible Man, Ralph Ellison's novel about the identity and status of a black man in a society that only sees in him what they find personally or ideologically expedient. The other members of the club assented, and Saint Louis University bought enough copies of the book to supply our needs and then some.

From its opening pages to its harrowing epilogue, satire, symbolism, and seething anger suffuse Invisible Man. In between, the unnamed narrator recounts the long series of ordeals he's endured at the hands of people who seem to have more control over his life than he himself does. The man is villainized, fetishized, and bullied at every turn, and only in the final scenes does he come to a crucial realization and act in his own best interests. The book was written in the early 1950s but remains relevant. It fueled long, trenchant conversations with my fellow book clubbers and made for an enriching, eye-opening read. At several points in my literary travels over the years, I encountered references to a highly regarded work of social criticism, Amusing Ourselves to Death, written in the early '80s by a man by the name of Neil Postman. The author published a number of books that decried television's deleterious effects on society, the declining quality of education, and the ethical poverty of news media. I had to read it. Amusing Ourselves to Death sat quietly on my wish list for years before I found myself in the mood for a media studies text. (You know, as one does.) Since no one else saw fit to do so, I eventually just bought it for myself. The method that Postman uses in this short, sometimes quite funny book, is a systematic one. He first describes how our minds are shaped, then lays out his theory that TV is ruining both our attention spans and our expectations of what media should be, as well as eroding our receptivity to education. After that, he traces the history of American discourse from the highly literate pamphleteers among the American colonists, all the way to "PBS News Hour." There are times when Postman's subject matter will raise skeptical readers' eyebrows. Not sounding like a cranky old fart is hard whenever you're arguing that time has changed things for the worse. Postman fights this fight unflaggingly, however, and those who stick with him, even through his fartiest-sounding claims, will eventually be won over. It's difficult to disagree with the rationale of his ultimate conclusions. There's a reason that Amusing Ourselves to Death is still assigned in colleges today, decades after Postman wrote it. If anything, he's even more relevant in our current era of the listicle, the news blast, and the fifteen-second commercial. The now-deceased writer David Markson came to my attention through a David Shields book that impressed the hell out of me thirteen years ago, Reality Hunger: A Manifesto. Shields's book implicitly asks readers what they think about when they think about literature — what forms, what meanings, what rules? The two books I read by Markson ask these same questions, ostensibly in novelistic form. Both This Is Not a Novel and its sort-of sequel, Vanishing Point, try to be works of fiction without characters or plot. The degree to which Markson succeeds depends on what you think fiction is and how you define "characters."

This Is Not a Novel starts off with the line, "Writer is pretty much tempted to quit writing." There's nothing quite like ennui to fuel a good book, but Markson doesn't give two shits about narrative. He writes it all ("with no intimation of story anywhere") from notes on index cards collected and meticulously assembled by the character he names Writer. This was clearly Markson's method, also. And Vanishing Point does the same thing all over again. The smell of metafiction is strong on these books. There's also a lot about death. Assuming that Markson did good research and isn't trying to dupe anyone, we readers learn from him that Darwin wrote of being "nauseated" by poetry, that Italo Calvino died of a cerebral hemorrhage, that Mitsubishi manufactured the torpedoes used in the Pearl Harbor attack, that Abraham Lincoln never saw Europe, and a thousand other seemingly random facts, quotes, and observations that comprise these two weird little books. I've got another one still waiting for me, Markson's The Last Novel, the final work in a triptych he completed before his 2003 death.