Sloppy Proofreading

The novel I am reading now contains many errors. In the first few pages, the name of the neighborhood that the main character moves into is spelled two different ways, alternating between the two. The name of another important character is also spelled two different ways. There are other annoying errors, such as an extra space between the last word of a sentence and the period. I know that publishers have had to cut costs, and that there is much less hands-on editing going on than in the past. And I know that at the proofreading level, no matter how carefully a book is proofread, errors can creep in. But there shouldn't be as many errors as there are in this book already, when I am only a quarter of the way into the book. The publisher is a longtime, well-known and respected one (W. W. Norton), so this is no fly-by-night outfit. I have to say, these frequent errors bother me. The more errors I see, the more they bother me, to the extent of interfering with my enjoyment of the novel. Am I being too picky?

Teenager Delivers Books on LGBT Themes

Brava to San Francisco Bay Area teenager Amelia Roskin-Frazee, who at age 15 is the organizer of the Make It Safe Project; she donates and delivers boxes of carefully chosen fiction and nonfiction books on LGBT (Lesbian, Gay, Bisexual, and Transgender) themes to schools and youth homeless shelters. Amelia remembers when she herself could not find such information in her school library and, as quoted in the San Francisco Chronicle (8/25/12), says “When there are no books with LGBT characters, it gives LGBT (and questioning) kids the message that it’s not normal, that nobody else is like them, that something is wrong with them. And that’s a really dangerous thing.” The Chronicle article goes on to point out that “nonfiction books are also crucial for basic sex education as well as advice on how to come out in a positive way.” I am sure that it took courage for Amelia to embark on this important work, and I truly admire her for it.

David Foster Wallace: "Empty Cleverness"?

Was David Foster Wallace "obsessed with empty cleverness"? Caille Millner, a San Francisco Chronicle columnist, thinks so, as she wrote yesterday (9/1/12). She cannot understand the high regard Wallace is held in; for example, she tells us that the Guardian called him "the most gifted and original American novelist of his generation." Millner, in contrast, says he "represent[s] the worst of everything in contemporary literary fiction....His novels are long, plotless, obsessed with their own cleverness, and a cacophony of styles and voices minus character development." She also feels his popularity is gendered. She writes that "his audience isn't just an audience but practically a cult: a walking army of the kinds of upper-middle-class boys who collect vinyl records, all of whom speak of him...with three breathless letters...: D. F. W." She writes, further, that most people who read novels want plots and characters, rather than "slogging through 1,200-page novels whose chief purpose is to demonstrate the author's superb understanding of the Austrian philosopher Ludwig Wittgenstein." All of this is strong stuff -- extremely critical, even harshly so. I tend to agree, but have mostly thought of my lack of interest in Wallace's work as my own preference. I have even wondered if not liking or even always understanding the little of Wallace's work I have read was my own shortcoming, my own limitation. (Not that I have ever stayed up nights worrying about this!). My main response to Millner's arguments is that I mostly agree, but on the other hand, any (iterary, at least) author that gets people to read has value, and I am glad that there is a variety of types of novels out there.

"The Secret Life of Objects," by Dawn Raffel

We all have certain meaningful objects in our lives; most often their meaning comes from who gave us the objects, and/or from the circumstances in which we acquired them. Each essay in Dawn Raffel's collection of very short (from a half page to three pages each) essays, "The Secret Life of Objects" (Jaded Ibis Press, 2012), focuses on one such meaningful object in her life. She describes the objects and -- especially -- the circumstances of acquiring the objects, and her feelings about them. As we read these short pieces, we learn about the author's history, family, and character. In the brief introduction to the book, she writes that "Surveying my house I found myself surrounded by surfaces and vessels, by paper and glass, by cloth, wood, clay, paint, and also my late artist mother's renditions of things....Objects are intractable. We own them. We don't. All memoir is fiction. We try to fit the pieces together again." The titles of the approximately 50 pieces include "The Mug," "The Moonstone Ring," "The Wedding Gift," "The Tea Set from Japan," "The Bride's Bible," "The Rocking Chair," "My Grandmother Bern's Recipes," "My Father's Hat," and "The Dictionary," to name just a few. Many of the essays are accompanied by lovely, evocative black and white drawings by Sean Evers. Each piece is a sort of meditation. Although this book is short (158 pages), it is best savored over time, a few selections at a time. It is certain to remind readers, as it did me, of meaningful objects in our own homes and lives, and of the histories and feelings attached to them. I highly recommend this unusual and beautifully written book.

R.I.P. Shulamith Firestone

The feminist writer and activist Shulamith Firestone has died at the age of 67. She was a leader in the women's liberation movement of the 1960s and 1970s, a true pioneer and theorist who was enormously influential at the time, and whose work is still taught in women's studies classes. She is most famous for the book she published at age 25, in 1970, "The Dialectic of Sex: The Case for Feminist Revolution." In this book, she utilized the work of Marx and Freud, among others, and argued that biology, and women's capacity for reproduction, was used by a patriarchal society to keep women unequal. In her activist role, she was the co-founder of three feminist organizations: New York Radical Women, the Redstockings, and New York Radical Feminists. She was also a painter, and wrote another book, but she found the fame that came to her after "Dialectic" overwhelming. In later years Ms. Firestone's life and work were derailed by mental illness, and for many years before her death she had largely isolated herself. It is very sad that this was so. But her contribution to the women's movement and its intellectual underpinnings, and her influence on so many women, are something to be proud of, and something that will live on. I remember reading this book when I was in college and just discovering the women's movement, and I remember being very impressed by it, with its radical and liberating ideas. She was an important part of those heady years when women felt they could truly change the world and make it a more equal place.

"Shout Her Lovely Name," by Natalie Serber

"Shout Her Lovely Name" (Houghton Mifflin Harcourt, 2012), by Natalie Serber, is a collection of short stories, all interconnected except for a few stories. The interlocking stories feature a mother (Ruby), from the time she was young, and her daughter Nora, each going through various adventures, loves, and losses. Although mother and daughter are very different, they have some commonalities, and they always stay connected. The title story, which is not one of the interconnected stories, is a powerful portrayal of a mother's dealing with a teenaged daughter with a serious eating disorder. Her heartbreaking fear and attempts to do the right thing in the face of her daughter's massive denial and resistance seem very realistic and are very moving. All the stories engage with women's lives, families, sexual and romantic relationships, and most especially the fraught but so very important mother-daughter relationship. As a daughter and a mother of a daughter myself, I can relate to some of these interactions, although the specifics of my life are quite different from those of the stories' characters.

I Remember Those Color-Coded Reading Boxes

Does anyone else remember the SRA Reading Boxes? I happened to see a reference to them recently, and it reminded me of past connections to them. I remember them from school, and then later from using them many, many years ago in some reading classes I taught. For those who don’t know them: There are several boxes in each series, at graduated levels; each box has a set of reading cards of various color-coded levels; each card has a short reading followed by comprehension questions. The idea is that students move at their own pace through the various levels of cards. If they read, for example, three cards at one level with no more than one error in answering the questions on each card (I don’t remember the exact requirements), they may move to readings at the next color/level. The value is in allowing students to move as quickly or as slowly as they they are able, and to monitor their own progress. A whole classroom of students can each be reading at her or his own level; teachers set aside a certain amount of time a week for this activity. The downside is that the readings are often very dull. I don’t know if these are still used in classrooms, but I am guessing they are. I see that McGraw Hill still sells them. Although I found them a bit dull and bland both when I read them and when I taught them, there is something that appeals to many students about them, and this system offers a different kind of reading practice than the usual practice of the whole class reading and discussing the same readings. It allows students at all levels to feel a sense of accomplishment; it also harnesses the competitive spirit that many students feel, even if they are only competing against themselves. The hope is that reading these cards will lead to increased skills which then will lead to reading longer and more varied materials.