Corey Robin Reviews a Book About Trump

Reading Time: 4 minutes

The following transcribes my email to a correspondent who provided the original link to this blog entry by Corey Robin. I used to see these (and comment) on Facebook. But I’ve managed lately (like for the better part of a week) so far to stay away from Facebook, except at arm’s length.

Here’s the link to the book review http://coreyrobin.com/2017/03/14/the-real-parallel-between-hitler-and-trump/

And here’s what I had to say:

Email to a friend, today’s date, about the current Corey Robin blog entry

I am predicting you won’t mind my lapse into old ways and responding directly to what I saw was a recent post while making one of my lightning checks of Facebook.

I feel so much better, incidentally, these days, avoiding Facebook consciously, indeed mindfully, as it’s still necessary to resist the unconscious reflex after perusing this or that news site on the web to drop down my bookmark menu for “Social” and click on the blue F (good title for a murder mystery, “The Blue F”). I realized without undue mental exertion that what depressed me was not the news—though it’s surely no cause for joy or a sense of well-being—but the peculiar embellishment of the effects of relentless dispatches from the front lines of anarchy, otherwise known as the White House (have you noticed that increasingly the news media have taken to iconizing the actual physical seat of executive administration of the government, just as the Brits did decades and decades ago with 10 Downing Street? My theory is, it’s a way for the news “good guys”—what we usually call, as if there were something vaguely blasphemic about the epithet, the establishment news or the mainstream media—to continue to separate the Trump administration from the rest of the government, which they hope not only metaphorically to quarantine, but to do so literally, lest the contagion spread uncontrollably like the super bacterium it is [trying to think of another metaphor yet, to throw into the mix, but that’s enough], and also, of course, as a way, literally as well, to avoid having to set the name Trump in type yet again, bolstering the data mining results of the future). It’s not what the news media say, though enough of it constitute crimes against English, if not against truth altogether, beyond mere execrable writing.

Cover of Making of Donald Trump

The Making of Donald Trump bookcover

In any event, thanks for the Corey Robin link [to his review of the David Cay Johnston book, The Making of Donald Trump], as it, if for no other reason, reminds me that I have to subscribe to his feed or I will no longer, in the medium to long run, be reminded by you to see if there are a few unbruised fruit and un-blighted seeds to harvest from his particular tree of knowledge.

Nice to see that he seems to have put back under control his tendency to foam at the mouth.

This was a nice review, and true enough, I’m sure, but it’s evidence of the continuing crime of recycling old news. Why is it that so many liberals, if not those further left on the spectrum, think that the regular glance “rere regardant,” as Joyce put it in Ulysses, is necessary to keep from repeating old sins? Or, more likely, as if keeping the misfortunes of our time in the forefront of our consciousness will somehow ameliorate the abstract condition of our lives by halting, through a sheer act of collective will, the progress of the ill effects of the latest form of exploitation (like enough, surely, ever more virulent—there’s that super bacterium metaphor again…), in this case aka “the White House.” I won’t even talk about what Johnston is doing with such a book, aside from a public service of course for those not paying attention to the last 30 years. It was likely a lot of work, and I don’t criticize that, or begrudge him the rewards of an appreciative marketplace.

So, finally, and then I’ll let this, and you, go. He (Corey that is) says, “the systemic corruption of our rentier economy,” which is a nice twist I guess on a slightly shopworn locution. Except, as usual, I must take, indeed, exception to the use of “corruption,” suggesting that, at some previous time, the system of which we all are part, was sound and pure and unsullied by decay. Which I don’t believe. I think it (the system) has some genes deep within that, though not manifest at conception, inevitably prove an almost unavoidable tendency to develop a cancer. Back in the day, I mean 1781, they simply hadn’t yet conceived of the banking laws we are so clever to have ginned up starting back in the 1920s, if not earlier. For example.

And, I would prefer had he (Corey) stuck to the more prevalent condition in the use of the phrase—which was used most poignantly for me when my shrink told me at some point during the analysis to which I subjected myself for about four years back in the 1980s, when I had money to donate to my shrink’s mortgage holder, “we’re all renters.” True enough, I’ve come to discover, especially in that the phrase applies in all situations, just like “this too shall pass.” It’s only a very small number of self-privileged ones, somehow impervious to the corruption in which they thrive (what is evil, after all, to the devil?) who can legitimately call themselves, as well, “rentiers.” So. Not so clever after all. It’s just rubbing it in.

see you elsewhere on the ‘net, I hope…

xoxo

hhd

Digiprove sealCopyright  © 2017 Howard DininFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailby feather
rssrssby feather
Share

Du Semaine (Picks of the Week)

Reading Time: 1 minute

My choices for January 6, 2017

I hope to make this a regular post each week. Please let me know what you think, and what else you’d like to see.

Photography Site du Semaine

Willcocq_photo_detail

Patrick Willocq, Congo Photos

Patrick Willocq, Congo-raised, French Photographer of Africa

Painter’s Site du Semaine

Baker_painting_detail

David Graeme Baker painting (detail), “February”

Website of David Graeme Baker, a native-born South African, raised in Pennsylvania, and now living in rural Maine.

Novel du Semaine

extinction_book_cover

Detail of Book Cover

Extinction, by Thomas Bernhard. The last novel of Ausrtrian author, Thomas Bernhard, considered among the greats of fiction writing in the late 20th century.

Digiprove sealCopyright  © 2017 Howard DininFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailby feather
rssrssby feather
Share

Smart Bitches

Reading Time: 2 minutes

Today, I had the slightly unusual and, admittedly, slightly queasy-making experience of seeing my name set aside in print (if we can call a blog, “print”) for praise, I guess, in a review of the book I have touted here over the past nine months, the collection of food related writing called Books that Cook: The Making of a Literary Meal. It features, among many other contributions, a poem of mine called “How to Make the Perfect Fried Egg Sandwich.” This poem follows a brief reminiscence by the fabled food writer, M.F.K. Fisher, which ends with her aunt’s fried egg sandwich recipe (the exact opposite of mine as it is, as she admits, unchewable and indigestible). The reviewer happened to like Ms. Fisher’s effort, as who wouldn’t? Unfortunately, she attributed it to me. Several commentators chose to add their thoughts, including one who admitted never having heard of me, and several much sharper readers than the blogger noticed striking similarities to what was described as my effort, to the work, justifiably and correctly, of Ms. Fisher.

Whatever the consequences of that, it’s hardly important. But I did find one thing mildly striking. The name of the blog is “Smart Bitches, Trashy Books” and is meant, I think, to be resonant with a certain spirit of the age to convey, ironically, an exactly opposite set of sentiments. The women, of course, aren’t bitches, and the books, singled out for praise, are hardly trash. It does leave me wondering yet again what exactly is it that induces women to refer to themselves, to one another, and generically and universally, and I think with an air of bravado, defiance, and rueful humor as “bitches,” whereas any such usage by men—and it is usually so in far more mean-spirited, if not downright misogynistic contexts—is excoriated and faulted to an inch of its life and rightfully. Yet, there’s that usage by women themselves, without the slightest hint that the user of the epithet is aware that this can only encourage it further.

I suggest that the sensibility intent on being hip and au courant sufficient to refer to her sisters in spirit as bitches, as a truculent badge of honor, inviting challenge, has lost its attention sufficiently to make the kind of error, inconsequential as it is, that confused the work of a male poet for an iconic female writer of deathless prose, now considered part of the canon.

I am both bemused and, yet, hmmm, I just don’t get it. Nice review though, full of solecisms as it is.

http://smartbitchestrashybooks.com/reviews/books-that-cook-the-making-of-a-literary-meal-by-jennifer-cognard-black-and-melissa-a-goldwaite/

Digiprove sealCopyright  © 2015 Howard DininFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailby feather
rssrssby feather
Share

A Reading

Reading Time: 4 minutes

9781479830213_p0_v2_s260x420.JPG

It is now over four years ago that I was asked to contribute a poem to a forthcoming book. I’ve talked about the book here and in other places. The book is Books that Cook: The Making of a Literary Meal and is, essentially, a carefully edited anthology of writings in an array of genres, fiction and non-fiction, poetry and prose, and all on the subject of food. The book is arranged by its co-editors, Melissa Goldthwaite and Jennifer Cognard-Black, in a form that is roughly analogous to come amalgam of food related textual categories: a menu, a recipe, a history. Each section, related to a part of the meal, starter, main dish, etc. and in the sequence in which a meal proceeds is preceded by a selection from a cookbook of renown, dating back to the Colonial period in American history to the present. As the literary “meal” progresses we also are introduced to the evolution of the particular form of food writing dedicated to books focused on cookery.

I was approached to contribute by Melissa as we spoke by phone. I was, at the time, ensconced in the hotel in Hadley, Massachusetts which was my temporary weekly home for at least one night, predominately a Tuesday, prior to conducting the seminar I taught once a week, in the afternoon, to students of Amherst College. By staying overnight, I was spared the round trip, could enjoy a dinner out in town, and I was available for office hours Wednesday mornings, before returning to Cambridge.

To the best of my recollection, during this particular week, my sojourn had been extended involuntarily because of inclement weather. I left early, as snow was predicted, and so I stayed Monday night, in anticipation of the storm. Sure enough, for Ground Hog Day, that Wednesday, over two and a half feet of snow had fallen, and I was socked in. Perfect conditions for composing a poem.

What Melissa told me was that she and her colleague had come to the conclusion that they needed a poem in the section of the book otherwise devoted to eggs, with a lovely selection of prose, both fiction and essays on the subject. Most of the rest of the book showed an even balance of genres. They had as yet to find a suitable poem about eggs that also satisfied the other criterion for pieces selected for this specialized anthology. It seems every piece in the book incorporated, by hook or by crook, as an integral part of the narrative, or appropriately appended by way of illustration or amplification, a recipe for an actual dish or beverage that could be safely ingested.

I was immediately inspired, and I asked if the subject I had in mind was suitable. It took a day to produce a presentable draft. Melissa, being the inestimable editor (and excellent poet in her own right) that she is, made some suggested emendations, which I immediately adopted, or adapted, without demur. The version that appears in the book is the one we agreed could not likely be improved upon.

It has proven to be a popular piece in readings from the book I’ve been privileged to join since the book was published last summer. I have appeared with a group, variously composed, of my fellow contributors, in readings in Washington, DC (see an account of the reading in Washington, the first one that launched the book, here on the blog: The Reading in DC), New York City, here in Merion Station, just outside Philadelphia, in Philadelphia proper at one of my favorite of the small number of independent booksellers left here in the birthplace of the Declaration of Independence, and my final appearance at the homebase of Jennifer, the co-editor, who is a Professor of English at St. Mary’s College in Maryland.

It was at this last reading that I was astonished (and delighted) to be told by one of the students in the audience afterwards, as our admirers stood patiently in line as we signed copies of the full text, that she found my voice to be quite “melodious.” Not a word I would ever have used to describe my own instrument, though I will admit to reading well, when in the right mood, I nevertheless, as graciously as I could, accepted the compliment, and thanked my admirer.

It has occurred to me since, as there will be no further opportunities for me to read (though one or two further readings are scheduled, well into this coming summer) this might be a good time for a first appearance by me, in audio form, to complement my appearance for the first time in this beautiful volume as a poetry contributor in a published anthology.

You can decide on the qualities of the reading for yourself. I am satisfied with the result, though I’m sure I would not designate it either as melodious or particularly harmonious, being a solo effort. Any defects in the recording are mine, as I served as my own engineer.

I hope you enjoy it.

Making the Perfect Fried Egg Sandwich

Digiprove sealCopyright  © 2015 Howard DininFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailby feather
rssrssby feather
Share

The Reading

Reading Time: 9 minutes

The Reading_06Sep2014__DSC0009-Edit


Saturday of this past weekend was a banner day for the household. The book tour for MG’s latest opus (co-edited with her collaborator on this and other projects) began, auspiciously enough, at one of the destinations on everyone’s short list of great independent bookstores: Politics and Prose, in Washington DC. Setting aside the universal plight of all independent bookstores—how to stay viable and profitable in a world of online discount selling—we can take comfort that the strongest and most appealing of these stores, and Politics and Prose is one of them, seem to thrive. Sometime, in another post, I may end up musing on the qualities of these stores that allow them to survive where they are beaten every time on price, the factor that seems to trump all others in the book buyer’s decision process.

The book that was the focus of the event is an anthology of food writing, a collection born of a mutual interest on the part of the co-editors long since to teach this genre, drawing from a growing library and history of such works. Several years ago, in tandem, but on separate campuses, they offered what turned out to be very popular courses. One editor, whose expertise skews toward fiction, and scholarly inquiry into the nineteenth century novel in English, taught a curriculum that demonstrated a similar predisposition. Jennifer Cognard-Black is Professor of English at St. Mary’s College of Maryland, an institution whose constituents, all and sundry, seem reflexively to add to the name, “the public honors college,” is a respected, if small, liberal arts college that is actually part of the State of Maryland system of higher education institutions. Hence it operates at the fiscal discretion of the Governor and the Maryland Senate and House of Delegates. All of which is by way of seeing that there’s an analogy here, between the plight of the independent bookstore, and the plight of the small college of liberal arts—also a struggling breed, except for quality institutions like St. Mary’s, which holds its own, with far smaller budgets, though at far less cost to its students, with its peer institutions, far better funded, more prestigious, and highly competitive in their selectivity.

One co-editor, Melissa Goldthwaite [full disclosure: she’s my wife], is a Professor of English, at St. Joseph’s University, a specialist in Rhetoric and Composition, and Creative Writing. St. Joseph’s is one of a whole network of Jesuit-affiliated institutions of higher learning throughout the country. The aims of the education have, still, at their core a dedication to providing a solid liberal arts education. I say still, because the challenge for any U.S. institution of higher education today is how to continue to instill not only a love for learning and an understanding that a broadly based education steeped in the cultural history of the world, with some requisite skills in analyzing the relevance and meaning of the substance of that history.

The impediment confronted on many campuses, regardless of how you categorize the institution, and not strictly an antithetical stumbling block, but in seeming counterpoise, is the acquisition of credentials through the study of more marketable subject matter. Strictly speaking, and increasingly, this means courses in business, or marketing, or economics—or any of the broadening array of sub-disciplines—that constitute a more practical species of specialized skill sets. It’s well and good to be able to suss out meaning that appeals to the heart and the mind in a poem; it’s another thing altogether to understand the arcane relations between columns of numbers in a balance sheet and what they might augur for the continued prosperity of an enterprise.

Smarter dispassionate heads struggle to prevail in the argument that these are not antithetical capabilities. Indeed, the subject areas in the classic curriculum collectively still referred to as the humanities provide a foundation in discovering a successful way of coping with life in the real world. Not every argument is won by the humanists. There has been a progressive retrenchment in traditional curricula and it’s likely at least three decades, if not longer, that colleges and universities have introduced, in a first wave, new departments and areas of specialization: women’s studies, gender studies, and targeted ethnicities, including African-American and Latino studies, being prime examples.

More recently, and in tandem with rising tuition costs on almost all campuses around the country (rising at rates that far exceed the rate of increase in almost any other critical economic marker), the entire industry, for that is, alas, what it has come to resemble, of higher education, has added courses of study that are directly and unambiguously platforms into seeking and achieving paying jobs within highly defined areas of specialization, in technology, finance, and entertainment. In ways that test the elasticity of meaning of a word that originally sustained little ambiguity given its roots, I mean the humanities, the new designers of academic missions and the supportive educational infrastructure argue—usually by way of mere lip service—that being human endeavors, the new subjects and courses are merely latter-day manifestations of this classic epistemology. Others, in a sense less cynical, say that the study of the humanities per se, with no qualification or abridgment of the standard meaning of the term, have become at best a luxury, and at worst a useless anachronism.

There is one constant, however, and not paradoxically. If anything, the importance of the ability to communicate, especially verbally, has never been more of a manifest value. Which brings me back to the substance of the spanking new Goldthwaite/Cognard-Black opus. In food writing, I suggest, there is a rare amalgam, a blend of the two still viable contemporaneous disciplines: effective communication (dare I say, at the apex of its expressive qualities, attaining to literary worth?) and the subject of food in every conceivable aspect. The latter has long since been monetized in the still major media channels of radio, television, the Internet, and that strange space coextensive of the World Wide Web, proprietary social media. Food has become competitive sport, obsession, confessional, practical, salvational, healing, spiritual, and technological.

Books that Cook: The Making of A Literary Meal is, frankly, not an exponent of all these salient if divergent methods of inquiry into the subject. The editors being who they are, and with a more singular mission in their noble day jobs as pedagogues and mentors to would-be writers, have chosen not a more conservative course of activity, so much as a classic one. And on the Saturday, just passed, in question, seven of us read from our work, including the co-editors who were also contributors: Cognard-Black wrote a short story specifically for this volume, and Goldthwaite included one of her excellent poems. The other five of us, including myself (with a poem, commissioned for the volume, “How to Make the Perfect Fried Egg Sandwich”), and two other poets, an essayist, and memoir author.

We didn’t exactly wear our academic credentials on our sleeves—for one thing it was a very hot, beyond sultry, Washington DC day, and the majority of us were in short sleeves, if there were sleeves at all to our garments. In fact, to some greater or lesser extent each of us, as well as all the other writers in the book, were or are published authors. Our bona fides preceded us. The only criterion the works selected had to meet, aside from manifestly having food as a major theme, motif, or subject, was that each include a bona fide executable recipe within the text.

The publisher bankrolled a generous adjunct to the gathering, especially generous to the attendees who met no other criterion of admission than to show up, in the form of a smorgasbord of sample tastings of five of the recipes featured. In short, they paid a caterer to prepare and provide small, but ample, tastes of two kinds of cake, a vegetable soup, and a beverage, a punch. Anecdotally, I’d say, from the amount consumed and the overheard comments of approbation, the crowd was pleased.

The audience settled in, many of them with tiny cups of soup, sipped with even tinier spoons, and the reading began with a greeting from our merchant host, which, courtesy again of the publisher had provided stacks of volumes for purchase, and a traditional signing after we had all performed. We read in turn, taking from five to ten minutes each. Some of the readers bolstered the rendering of their contributions as published with yet more works of theirs along the same lines. In an hour, we were done. There were few questions, all asked with that earnestness that characterizes self-consciously literary crowds. And then the queue formed.

I was surprised to see that several folks bought multiple copies, each receiving a requested and different personalized greeting. The book is not costly, and I did not inquire as to any discounts, but three copies, let us say, which at least one generous soul had purchased, plus the local sales tax ate up most of a hundred dollar bill. I was further surprised to be asked myself to sign several copies, and I easily fought the temptation to disabuse the pilgrim of the likely value of my scrawl in any conceivable future.

I will admit personally to a certain sense of a kind of temporary dissociation. I for sure knew where I was, but I also wished I weren’t. I loathe crowds of strangers of any size. They intimidate me, and put me on guard. When it came time to read, I stood up, and didn’t quite entirely put aside my usual sense of confidence (bolstered by a rehearsal the day before at home, before my editor and our pooch, who both listened raptly as I easily gave a flowing reading of my free verse) as I hugged the podium and barely glanced at the equally rapt crowd. As I read, with the same well-paced cadences I’m sure in retrospect, all I could hear was a tremulousness in my voice, which I certainly felt. By all accounts that reading was as free of defect as the run-through, though it had seemed interminable to me. Barely noticing the applause, which had justifiably greeted each of the other readers, I regained my seat, as the sense of otherness enveloped me again.

Other than the pride in my wife’s accomplishment (and I was one of very few, present or not, with any acquaintance with the trials the editors together had undergone in seeing the book through its long gestation) my memory of the afternoon is hazy. It was, undoubtedly, a success, which I knew, having seen the number of copies the store had rung up. For all that, this was, I admit, my first opportunity to participate in a reading of this sort, from the other side of the lectern. Seeking no prior indoctrination, and even knowing my antipathy for crowds of strangers, I was interested to take in as much as I might perceive. For all the sales of the book that day (and to date, as it enjoys its inaugural weeks on sale nationally), the publisher had shipped what proved to be a significant surplus, no doubt in an established protocol of cautious optimism and preparedness. I happened to be at the check out at the front of the store, as the staff prepared for the next event, hard on the heels of our own. I admit as well, I cannot step into a well-stocked bookstore without spending some money (and I bested the outlay of the hundred dollar lady, with quite a much larger sum in a fit of spreading the wealth—I should disclose that my own copy of Books that Cook had arrived weeks ago at home, gratis). As I paid for my second purchase of the day, for another book, another audio CD, and a Lamy rollerball pen I couldn’t resist, I watched as two of the staff members, expertly stuffed what was left of an unsold pile of volumes of the literary feast into two sizable cartons, festooned with labels that looked familiar from a shipment long ago of my one published volume—probably the same production house. They had those cartons packed and sealed and ready for shipment back, all in the time it took to swipe my card and for me to sign the check.

All in all, and nevertheless, I am sure it was a good day for NYU Press, and Politics and Prose, and the co-editors. Later that same weekend, a check on Amazon of how the book was selling showed it had, for what it appears was a shining moment, achieved “best-seller” status, making it to the “Top 100” in three different sub-categories. I have no doubt with our next reading, scheduled for New York City, the home turf of the publisher, at a rare book library on campus, it will attain a few more moments of fame, and once again, even a few grains, like scattered salt crystals, will reach me.

9781479830213 p0 v2 s260x420

The book is available on-line, here http://www.amazon.com/Books-That-Cook-Making-Literary/dp/1479830216/ref=pd_rhf_ee_p_img_1, and here http://www.barnesandnoble.com/w/books-that-cook-jennifer-cognard-black/1119220500?ean=9781479830213. And, of course, at your local independent bookstore. I know where I’d go.

Facebooktwittergoogle_plusredditpinterestlinkedintumblrmailFacebooktwittergoogle_plusredditpinterestlinkedintumblrmailby feather
rssrssby feather
Share