Shakespeare, Owen Hart, Zeitgeist

February 25, 2008 § Leave a comment

Finished last Saturday: Bear v. Shark.

A couple of tidbits from this and then I’m putting it to bed. Really a fun read, even if I do think it’s no great shakes as literature goes. Hey, I can pretty much guarantee that I’ll enjoy, at least at some level, any book that includes a functioning index that is also a parody of an index, and appears not at the end, but as a chapter of the book itself. I’m a sucker for index humor after taking a class on “Indexing and Abstracting” in library school.

Tidbit #1: Chapter 58, “Textual Evidence,” is a radio interview with a poor doctoral candidate trying to build a career on the hypothesis “that Shakespeare had bear sympathies” based on the relative number of appearances of the words “bear” and “shark” in his works. There are some truly hilarious lines in here. E.g.: responding to the charge that most of the “bear”s in Shakespeare are verbs, not nouns: “You know sometimes it’s like Freud never happened.” And there’s the host’s rejoinder of the “negative evidence hypothesis”: the theory that Shakespeare didn’t use the word “shark” because he was so respectful and terrified of them.

This would be silly if people weren’t constantly trying to do this kind of thing with Shakespeare (and a few others), and for similarly ludicrous reasons.

Tidbit #2: Chapter 68, “In Superhero-Type Fashion,” juxtaposes “Long Story Short ed.” recaps of Orson Welles’ War of the Worlds radio broadcast and the death of pro wrestler Owen Hart to point out the strange ways in which fiction—artifice, illusion, spectacle—now seems more real, normal, and expected than “real life.” This is really quite brilliant, I thought.

It’s the most explicit statement of a theme that runs throughout: entertainment, pounding hype, repetition, and contrived narrative as a kind of soup we now live in, all around us, absorbing practically everything in sight. (This appears elsewhere in detached snippets of televised/radio broadcast dialogue, commercials, sports talk, etc., and in the whole chapters that detach from the novel’s own narrative arc (such as it is) to describe one program or another.) We expect story and packaged narrative: it’s the moments of unexpected things actually happening that are hardest for us to understand, now. We spend a really inordinate amount of time parsing the details of, and coming to grips with, these “real” occurrences, intrusions of action (alternative narratives, or alternate realities, if you will) into the narratives that have been built around us. (See the chapter “Non Sequitur,” here. See 9/11, and the almost instantaneous growth of a subculture believing it was heavily stage-managed or at least planned to appear on TV. Better yet, read “The View from Mrs. Thompson’s,” DFW’s 9/11 piece. Now I promise to leave the shrine of DFW alone for at least a month.)

No great insight here, right? This is practically the ur-narrative of this whole school of writing (which is really a lot harder to define than it seems: call it postmodernism and you’re lumping in a bunch of writers to whom it doesn’t so much apply. Maybe we should just call it the Barth/Pynchon school and leave it at that). In other chapters Bachelder, writing (I speculate, based on pub date of 2001) in 1999-2000, throws the Internet into the mix. His particular hobby-horses are the easily detachable, easily misunderstood, easily convoluted bits of info and trivia available there. It’s a little early. He’s still dealing with small-fry conspiracy theorists and poor spellers. Just wait for the well-meaning, ill-informed listserv poster, wikifier, or blogger, my friend! Then you’ll have some serious clusterfucks of rumor, hysteria, outdated information and skewed statistics!

Paging Dr. Wallace to Chapter 66…

February 22, 2008 § 2 Comments

Now reading: Bear v. Shark.

See the previous post for the beginning of this head-hurting argument. To dive back in:

Only there are more layers of jokes, see. Bachelder makes a joke near the end of chapter 51 about “apologiz[ing] for the whole bear porn thing” in reference to his next chapter, a hucksterish promo for a skeevy porno site about bears. And he also, near the end, goes over the top: he makes his argument about satire into a plea for a connection between writer and reader on a personal level, wishing the reader could come over for a chat and a cup of coffee.

This is deliberately, manipulatively over the top. I would fear that Bachelder is trying to skewer DFW here. I would fear he intends this whole quiz interlude as a satire on DFW’s bedrock hopes for a less ironic, better informed, more engaged populace, and on DFW’s stated hopes that he can connect with his readers in a meaningful way through/despite all his rhetoric. But, instead of (or along with) these fears, I suspect that Bachelder doesn’t have enough control over his material to be conscious of this apparent critique. And I think that just perhaps it is simply intended to be, um, funny.

Just a few more points to reference here. Chapter 62, “We Know You Know,” is a “commercial” for Sexy Pants. It’s the kind of inspection of consumer culture’s motives that DFW does in his sleep. It’s a funny chapter, although it falls a bit flat at the end and is a bit more basic than you’d hope. (It’s no “Mister Squishy,” let’s put it that way.) In the aftermath of Infinite Jest, you could also read this chapter as a meta-narrative on DFW’s desire to show the inner workings of marketing schemes. The tag line for Sexy Pants–“Savvy is Sexy”–could be seen as referring not just to the pants, but to the marketing of DFW and the whole cult of the hip-young-author in general.

And then we get, in chapter 66, “Entertainment Exhaust,” direct quotes from DFW himself. The form of this chapter is a kind of command-and-response. So we get:

Tell about irony.

It’s tyrannical.

Tell what else D. F. Wallace says about it.

It’s bigger than ever after 30 long years as the dominant mode of hip expression. It’s not a rhetorical mode that wears well.

Tell about the new rebels.

They won’t be scared of sentimentality or melodrama.

Now, lemme tell you something: this book is an orgy of irony. In the very next chapter, the youngest son of the Norman family, Curtis, is shot in a grocery store when he does not hit the deck–because “it’s so embarrassing to get duped, to fall for the old fake gun trick.” There is a tender scene–the only one thus far–in which Curtis confesses to his father that he is afraid to die. So: melodrama. Sentimentality. Pathos, even.

This chapter is entitled “Bear v. Shark: The Rising Action.” Ironic much?

Well, so how does Bachelder refute those original arguments of Calvino that we started with–that satire places the author in a position of moralism and mockery? My view: so far, he doesn’t. He confirms them. He’s mocking and he’s moralistic. Advertising is bad: it ruins our quality of life! Slow down, don’t watch so much TV! Can’t you see I have a plan for you? Look how stupid you look! Look how stupid so much of our culture is! That’s what I’m getting here. I’m not getting any of the heart of the matter that I get from DFW.

The funny thing is, Bachelder clearly adores Wallace, pretty much based this entire book on “E Unibus Pluram,” and just about says so in a Bookslut interview a few years back. I actually don’t think he intended these counter-currents. I think he was a young author who wasn’t quite in control. Unconscious Rule #1 of the young fiction writer: When all else fails, be clever. I think Bachelder was trying to write a smart book about TV, media saturation, modern American life, in a way that would impress his peers. And he may do that–I haven’t finished the book yet, after all. Don’t get me wrong–it’s been a very funny book, I certainly appreciate his rendering of the consciousness of the manipulated boys, the lonesome father. But I think what chapter 51 and its aftermath (which includes another quiz chapter, a more seemingly straightforward one, btw) shows us is the dangers of influence and appropriation. Because I suspect Bachelder has written the exact book he didn’t want to write: duplicitous, self-serving, contrived, counterproductive. Which is what all experimental fiction is when it fails to grasp its own point.

Question 8: Why is Chapter 51 a Quiz?

February 21, 2008 § Leave a comment

Now reading: Bear v. Shark.

SPECIAL BONUS PREFATORIAL COMMENT: From now on, I’ll be advertising my next book a couple of days before I think I’ll get done with the book I’m reading now, as a service to my ginormous reading public. Something to whet your appetite, maybe even get you to pull the book off your shelf or out of your local library to look it over (if you’ve read it before). All 3 of you, get excited!

So, Reading next: The Confessions of Nat Turner, by William Styron.

But for now, the wacky world of Bear v. Shark.

Today’s class: pop quizzes in postmodern literature. Chapter 51 here, “Discussion Questions,” takes the form of 7 essay questions intended to mimic (but not really) the kinds of things on high-school English tests. And it ends with a long, self- (and literary-) referential, 21-part question in reaction to this quote by Italo Calvino (or so Bachelder says–I haven’t looked it up): “Satire is not the approach [to comedy] that I find most congenial. One component of satire is moralism, and another is mockery. Anyone who plays the moralist thinks he is better than others, whereas anyone who goes in for mockery thinks he is smarter. In any case, satire excludes an attitude of questioning and of questing.”

Now, Bachelder is self-consciously mimicking at least two authors here: Donald Barthelme and DFW. My Barthelme is tragically trapped in boxes right now, so I can’t look this up, but the ever-so-reliable Internet tells me the quiz in his work appears in “Snow White.” (I feel like there’s another one. I could be wrong.) And in Brief Interviews with Hideous Men, the story “Octet” takes the form of “pop quiz” questions appearing after presentations of moral dilemmas–only it kind of spirals out of control, in DFW’s typically awesome spiralling-out-of-control-but-really-completely-in-control-but-no- seriously-spiralling-out-of-control fashion, and becomes a meta-narrative on a fiction writer debating the merits of trying to be completely honest about and in his work while also engaging the reader and not screwing around with form for screwing around with form’s sake and not just being a dick. It’s a great story. It totally pays off whereas, for an example from the same work, “The Depressed Person” makes you want to off yourself. (I recognize the merits of “TDP,” by the way–it’s a great piece of work–but it is brutal to read. I mean, just hard to put up with. I’d love to reread everything in BIWHM but that.)

Point being, Barthelme pretty much cornered the market on using pop quizzes solely as a formal pyrotechnic–that is, “lookit me, I’m writing a quiz in a work of fiction, inviting my readers to participate and engage with literature in new, exciting ways!” And DFW interrogated the form into bloody chunks, and specifically addressed the fact that the form and his metafictional tricks were neither new nor all that exciting in and of themselves anymore, but had to be put to a purpose, had to have a use. So where does Bachelder get off with using it again, a mere two years after BIWHM? And, especially, where does he get off using the same reflexive devices DFW used–i.e., using the final question to address the questions the reader has probably been asking about him, Bachelder, and his motives–“Aren’t satirists just sentimental and oversensitive cranks who just wish the world were a kinder place…”–and his sources–“Didn’t Barthelme do this quiz stunt back in like 1965 or something?”

Well, here’s the thing: DFW is a master. You come out of a DFW story which has interrogated itself to bloody chunks and you somehow feel that those bloody chunks have been rehabilitated, remade, somehow made whole. Now anyone who’s read him knows DFW goes on too long to furnish any kind of quotable snippet–the man is firmly anti-quotable-snippet, I’m guessing. You will have to take my word for it and please, please read the story for yourself. The thing is, in “Octet,” he (er, the fictional fiction writer–but come on) lays out the reasons for using the form in such interesting ways that you feel, at the end, “Well, yes, it was a very complicated, but very worth it. I’m glad I read this. I’m glad there was this weird quiz-story with a trademark gargantuan footnote acting as the story’s superego.” (Or at least that’s how I feel about it. You really should read it, if only to learn about “The Carson Maneuver.”)

Wow, that took a while. What we’re talking about here, I’m afraid, is rhetoric. The reasons for exposing the tricks as tricks (as Bachelder tries to do here) v. using the tricks in the first place (and my, are there tricks in this book) v. spurning the tricks for a Hemingwayish bare-bones prose (but then that’s a trick, ain’t it?). Bachelder meant his quiz to be read in the refracted light from Don B’s and DFW’s quizzes.  I am guessing he thought his quiz would a) be thought of as mind-blowing and edgy by the kids who hadn’t read DFW or Barthelme yet, especially in that it acknowledges that it isn’t mind-blowing or edgy anymore, b) provide a useful form for critiquing education (“how does this make you feel?” is a recurring phrase in the questions), and c) allow rubes like me, who’ve read DB and DFW and Barth and a whole mess of others, to feel superior and supposedly see through the “layers of jokes,” as he says, and see that he’s using this quiz form because it is so artificial, and so used-up that it comments on our constant need to be entertained by newness especially in avant-garde literature, supposed bastion of non-commercial motives and higher critical faculties, and so it provides a safe place to tell the honest truth as the author sees it about his own motivations and his reason for writing the book.

Wait, there’s more!  I’m going to break this into two parts for both of our sakes.

The Split-Screen Stand-Up

February 19, 2008 § Leave a comment

Now reading: Bear v. Shark.

One of my favorite chapters so far–well, besides the cake-mix-commercial chapters, anyway–is “Question-and-Answer Period,” in which “Upstairs [on the Norman household TV], a bright-toothed, square-jawed young man in a hooded raincoat shares a split screen with a button-cute Television Personality. They’re both going places, you can just see it.” As Trevor reports from a rainy revival meeting, and Lee Ann in the studio responds to the banter, another “unclear moderator”–maybe the author, maybe an authorial surrogate for the reader, maybe the author himself, maybe (my fave on first reading) Mr. Norman, but likely, in Bachelder’s mind, intended to suggest all of these–comments on the relationship between the two: “All I want to know is, are these two doing it or not?” This moderator expresses a mix of prurience and tender compassion–pulling for Trevor and Lee Ann, for the relationship he/she speculates they have to work out.

Here’s a question: is this a “public” expression of interest? Does Bachelder intend this to be seen as comments intentionally inserted into the narrative, a discourse between–um, someone–and the reader? Or are we eavesdropping on thoughts, catching stray brain-waves from Mr. Norman or the author or The Hypothetical Viewer? As written, it’s a strange mix of cliched public platitude–“they still have feelings for one another”–and crass thought–“Damn, you know they’re doing it.” I speculate that Bachelder is intentionally ambiguous here in order to point out how these awful banal turns of phrase–hell, turns of thought–get used and used and used and work their ways into our addled brains. We can’t tell the difference, sometimes. These awful non-relationships we have with the people on TV; the thoughts we find ourselves thinking, the things we find ourselves saying. (See also: the difficulty Mr. Norman has remembering whether his memories of young love with his wife are actually scenes from a movie or show.)

Of course, the futility of this kind of deep, complex reading is another point of a lot of postmodern fiction.  Ah well.

Anyway, Trevor, due to some “technical difficulties,” ends up swearing and insulting and complaining on air. Plus there’s Trevor’s actual reporting on the Reverend Marty Munson’s special address and predictions on Bear v. Shark II. (All of this happens in about a page.) The one major flaw here, and one which might be addressed later: if you’re trying to actually depict the workings of the media, this incident–Trevor unfiltered on air–should be replayed and replayed as end-of-newscast filler, blooper reel fodder, etc. etc. The fetishization of the spontaneous, unplanned, and “real” is unlimited on TV. Replaying and moderating removes the pungency of such human moments. Bachelder surely knows this.

TV Fiction

February 19, 2008 § Leave a comment

Now reading: Bear v. Shark: The Novel by Chris Bachelder.

I felt the need for something completely different. And something short. So I’ve picked this up.

I remember reading about this when this came out, in 2001. I consciously avoided it for years, because it seemed so obviously derivative of David Foster Wallace and such a grad-school book. And I still think that’s true: this is a book, I suspect, written under the strong influence of Wallace’s seminal essay “E Unibus Pluram: Television and U.S. Fiction” (only the best lit crit essay I’ve ever read) and of Infinite Jest (only the best American novel of the 1990s). It is giving me a definite jones, again, to reread IJ. (That will happen eventually–it will!)

But, what the hell: how could I resist, forever, any book of metafictional intrusions, descriptions of cereal boxes, and speculative slang? A book made of sentences like “In short: Is this a postmodern stick?” and “It’s an example of what they refer to essentially as an unclear moderator.” (this in reference to unclear modifiers, but playing on the fact that the sentence occurs in one of the occasional chapters composed of pseudo-dialogue between unidentified participants, and which seems basically intended to represent the book (the author) talking to itself (himself)–a moderator as in a narrator, maybe, and we’ve had one unclear “I” in 70 pages so far)?  Made of short chapters of commercial play-by-play, middle-aged-American ennui, and examinations of the TV viewing habits of the future?

It’s been a lot of fun so far. Bachelder certainly has the ear and the eye: chapter 4, “Lady v. Cake,” is a dead-on description of a cake-mix commercial set in a courtroom. Excellent line: “The lady lawyer says, ‘If it is indeed true that you are from a mix, would you mind telling the jury just how you got to be so creamy?'”

So, yes, it’s a media novel. It’s very late-Clinton. It reminds me that I still haven’t read My Cousin, My Gastroenterologist, one of the key texts in the “E Unibus Pluram” essay.  It makes me wonder what the hard-core English majors are into these days.

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