
Books
I Wish
I Hadn't Read
by Sylvia
Sikeston
Certain books have such a formidable reputation that we, almost
instinctively, know to avoid them: Ulysses, War and Peace, Remembrance
of Things Past, Moby-Dick. Maybe already in the crib we overhear
conversations and are thus saved the later trouble of buying and trying to read them.
Other books to be avoided easily fall in several categories:
1. Anything on the Times best-seller list.
2. Anything made into a TV movie.
3. Anything translated from French or German.
4. Anything with a blurb from either The New Yorker or the Des Moines
Register.
5. Anything with the imprimatur of the Modern Language Association. Several
decades ago, MLA (the language professors' professional organization) started something
called the "Library of America," to publish the canon of American lit in
standard editions. By now, the L of A is well into this project (which smacks just a bit
too much of good old teutonic Gründlichkeit [thoroughness]). By avoiding the MLA
label, you are painlessly freed from possibly traumatic flashbacks to high school English
class.
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Then there are the more problematic books, those that achieve a certain
medium-term hipness, and whose titles are likely to pop up in casual conversation: "I
just read the most marvelous book. . . ", or "I bought this book off the
remainder table, took it home, and couldn't put it down . . . ", or (worst of all)
"If you're looking for a book that'll change your life . . . "
For several years, I've kept a tally of books in this last, unnameable
category. Perhaps my research will be of some assistance:
1. Ayn Rand. The oeuvre.
2. Anne Rice's first vampire outing, Interview with the Vampire, is an
extraordinary feat. Avoid all later titles.
3. F. Scott Peck, the entire ordure (so to speak).
4. E.M. Forster, ditto (except Maurice, if you're gay). Just as Mahler
unwittingly wrote great movie music before there were movies, Forster wrote great movie
scripts before there was Merchant-Ivory. You're better off watching the videos.
5. The Education of Henry Adams. Imagine a late-19th-century Wm. F.
Buckley touring Europe. Yawn.
6. Michel Foucault. I know this falls into Category No. 2 above, but the danger
here is so great, that I have to insert the master and root of po-mo / structuralist
obfuscation as a kind of double warning.
7. Peter McWilliams. The oeuvre.
8. Camille Paglia. The oeuvre.
9. Jane Austen. The oeuvre (don't ask).
10. Tom Wolfe. It's been downhill fast and far since The Electric Kool-Aid Acid Test. While we're on
the name, the other one (Thomas Wolfe) now seems so quaintly slapdash
that you can only wonder what all the shouting was about.
11. Dinesh D'souza. The George W. Bush
of conservative think[sic]- tank writing.
12. Ernest Hemingway. King of the troglodyte writers,
master of coelocanthic prose. I have no doubt that forced reading in school of E.H. by
young female persons in the 1940s and 1950s planted the seeds, no, let's change that
metaphor, supplied quite a bit of rich fertilizer for the seeds that would become the New
Feminism when those persons came of age in the 1960s and 1970s. Reading Germaine Greer
will tell you everything you need to know about E.H.
13. Bertolt Brecht. Dramatist par excellence, which means
he should be seen and not read.
14. André Gide. Enough to give homosexuality a bad name.
If forced to read Gide, you have only one effective antidote: watch a video of The Importance of Being Earnest.
15. 20th Century Japanese Fiction (long or short). What's
to admire in a culture that brought us Iwo Jima and the Bataan Death March? (Not to
mention later contributions to world culture such as the Walkman and Godzilla.) At least
the better German writers knew enough to flee once Hitler got going (all right, so they
mostly wound up living in Los Angeles; I'm not going to hold that against them). How many
Japanese writers fled Japan either pre- or post-Pearl Harbor, eh?
16. Anything from St. Martin's Press. Apparently their
books go directly from writers' hard-drives to paper to binding with no editorial
intervention of any kind. Carefree copy-editing is the least of their problems.
17. Neal Stephenson. The oeuvre. The fact that the
creator of cyberpunk has a career as a novelist is proof that McLuhan was right about the
decline of literacy, at least in the airtight little world of geekdom. The
"novels" are packed with fascinating ideas from the far edge of technological
development, but devices such as "character development" and "plot"
continue to elude the author. These books are enough to give science fiction a bad name.
END
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