Archive for: May, 2010

Jumping the Queue: What Makes You Choose a Brand New Book Over One That Has Been Patiently Waiting in Your TBR Pile?

May 27 2010 Published by under Uncategorized

Sonomalass was tweeting recently about buying and reading a brand new book –  despite having several books in her TBR pile.

I got to thinking about this phenomenon. I have PLENTY of books on my Kindle and in my closet to read. Some of them, I just grabbed absentmindedly. But others, I chose with great care and excitement and I am really looking forward to reading them.

So … why do I start reading some random new book first? Shouldn’t the newest books go to the back of the line?

I confess that some books get a “Special Pass”. Off the top of my head, here are some kinds of books that receive special treatment:

  • A new release by a very favorite author
  • The next book in a series (Charlaine Harris, or J.R. Ward, or J.D. Robb, for example)
  • A long awaited book by an author who publishes rarely or who has taken a long break (Laura Kinsale or Lisa Valdez, for example)
  • A debut book that everyone is raving about (Courtney Milan or Tessa Dare, for example)

But sometimes there is no rhyme or reason to it. For example, what explains why I started to read Autumn in Bangkok, a 1980 Harlequin Premiere Edition by Jacqueline Gilbert?

Am I being unfair to the long suffering books in my TBR pile?

What determines whether a book gets put at the front or back of your reading queue?

15 responses so far

Romance Roots: Jane Eyre

May 26 2010 Published by under Genre musings, Reading Reflection, Romance Roots

My romance reading has mostly been confined to late twentieth and early 21st century titles, but of course the genre did not spring up ex nihilo. Pam Regis’s A Natural History of the Romance Novel (2003) situates contemporary romance within a tradition she traces back to 1740′s Pamela. Among the earlier books Regis analyzes is Jane Eyre, along with Pride and Prejudice, Framley Parsonage, and A Room With a View). Regis chose them for their chronological distribution, representation of different styles of English literature, popularity with critics and public alike, quality, and vivid heroines. She writes, in a statement that may not be widely accepted by today’s readers, “In a genre whose focus is the heroine, novels portraying intense, vigorous women provide the purest account of the genre.” (p. 55).

Regis departs from earlier efforts to define the romance novel by focusing on narrative elements (courtship and betrothal) rather than themes (“love relationship”). According to Regis, a romance novel is a work of prose fiction that tells the story of the courtship and betrothal of one or more heroines. It has eight elements, and Jane Eyre has all of them.

1. Society Defined: near novel’s beginning; probably in some way flawed.

Society, especially Jane’s place in it,  is a major preoccupation of the novel

2. The Meeting: usually near beginning — hero and heroine meet.

A gripping meeting that brings together so many elements, including the Gothic, romantic, and feminist elements of the novel. An enigmatic man on horseback literally falls at our heroine’s feet!

3. The Barrier: series of scenes — reasons why they cannot marry.

The biggest one, obviously, is that Rochester is already married. Also class and gender issues (her I mean the internal barrier presented by Jane’s reluctance to be a charity case, even in the context of love). And then the fake barriers Rochester erects, as in his courtship of Blanche Ingram.

4. The Attraction: scene or series of scenes — reason they should marry.

Like an old school romance (by which I think is normally meant a romance written in the 1970s through the 1980s), we only directly get Jane’s version of falling in love. But how wonderfully Bronte captures the complex, uncontrollable, emotion, based on both things that can be named, particular qualities (his respectful treatment of her, his kindness, etc.), but also on the primal or inchoate, as when Jane says “he is not of their kind. I believe he is of mine; — I am sure he is, — I feel akin to him, — I understand the language of his countenance and movements: though rank and wealth sever us widely.”

Rochester holds his own, though, as in chapter 23 when he describes their connection as a “string somewhere under my left ribs tightly and inexplicably knotted to a similar string situated in the corresponding quarter of your little frame”.

They become beautiful in each other’s eyes, in that mysterious way love makes possible.

5. The Declaration: scene or scenes in which hero declares love for heroine and vice versa.

Chapter 23, baby. Jane says “whereever you are is my home — my only home”, and later Rochester says, “You-you strange-almost unearthly thing!– I love as my own flesh.”

6. Point of Ritual Death: moment when union between hero and heroine seems absolutely impossible.

For Regis, this is the moment when Jane, after feeling Rochester, finds herself on the steps of the cottage at Marsh end and thinks, “I can but die”. I would personally put it at the moment after Jane learns about “Bertha”, and is mechanically taking off her wedding dress and pondering what it all means (“I looked at my love … never more could it turn to him”.) Jane’s taking leave of Rochester might be another.

7. The Recognition: point when author gives new information overcoming barrier.

Jane dream Rochester needs her. She returns to Thornfield to find it burned down, and Rochester’s wife perished.

8. Betrothal: hero asks heroine to marry him and she accepts (or vice versa).

We get two of these.

Regis’s discussion of the novel is brief (as indeed is every discussion in this book. It is quite focused.). She notes that Jane Eyre showcases the flexibility of the form, and incorporates elements from other genres, such as the quest-plot, the northern (England) Gothic, Bildungroman, feminist themes. She notes the overriding theme of freedom — Jane’s — which supports a claim against the supposed natural antipathy between feminism and the romance novel to which she has already devoted a whole chapter. Indeed Brontë “finds the romance novel form a natural medium for this theme” (p. 87).

For Regis, the novel is all about freedom — not only Jane’s, but Rochester’s which is bestowed by Jane herself. Does Jane achieve “real equality”? Critics are split, with some arguing that while there may be a “mythical” equality, when romance triumphs, equality is necessarily sacrificed. Others note that Jane herself earned her triumphs, and was not saved by a prince.  The latter is Regis’s view. As she puts it, Jane “is profoundly bourgeois, but bourgeois values of independence, individualism, and freedom have been the goals of her quest: her marriage to Rochester is simply an extension of these, not a concession to literary form” (p. 91).

[What does "feminist" mean in discussions of Jane Eyre? In Regis, it seems to refer to a popular contemporary conception of feminism. Was Brontë influenced by the feminism of her day?]

A partial list of random things that remind me of contemporary romance novels:

  • Anachronisms (as in the apparent conflict between Jane’s comment that Sir Walter Scott’s Marmion is a new book (published in 1808), but then reading Byron’s The Corsair (1814). (see interesting discussion of chronology here).
  • Rochester’s diminutive pet names for Jane, as when he calls her “my little sceptic.”
  • The heroine as an orphan, as vulnerable, as isolated.
  • The dark, brooding hero who is older, richer, and more powerful (her employer) [Regis at one point claims that "Jane controls the courtship from the platform of her profession". (p. 88) I found that very hard to see.]
  • In general, the power issues between hero and heroine
  • The heroine’s lack of bodily control (control of passions) around Rochester
  • The false courtships
  • Rochester’s guests and the scenes when Jane is forced to sit with them reminded me of Patricia Gaffney’s To Have and to Hold.
  • The hero in disguise!

A partial list of things that diverge from contemporary (by which I mean, published today) romance novels:

  • The hero is married
  • The extended courtship of Jane by another man
  • The emphasis on Jane’s journey, including her childhood
  • Jane’s religious identity

A few of many things worth thinking a lot more about:

  • Jane’s art — is it just a plot propeller? Or is it more significant? Does it express her self-image?
  • Christian morality — A contemporary reviewer wrote that “No Christian grace is perceptible upon her.” (more reviews here)
  • Postcolonial readings. How is to to read Jane Eyre after reading Wide Sargasso Sea? Can you root at all for Jane and Rochester the way one is supposed to in a romance?

Finally, did I like it?

I would say I appreciated it more than I enjoyed it. Like any good genre reader, much of my pleasure came from situating the text within the genre. As a moral philosopher, I enjoyed Jane’s struggles with principle and emotions and Christian morality. But as a reader simpliciter (whatever that is)? I wasn’t transported by the prose, although I found the plot gripping (despite knowing how it was all going to unfold). There were stretches of slogging. Glad I read it.

Tell me what you think:

Have you read Jane Eyre? Did you like it?

If you read romance, and this IS a romance, why wouldn’t you consider reading it?

They say this is one of those books that, while being widely assigned by English teachers in the US,  is also pretty popular outside the classroom. Why is that?

31 responses so far

Monday Morning Stepback: Do Authors Vet Your Reviews?

May 24 2010 Published by under Monday Morning Stepback

The weekly links, opinion and personal update post

1. Links of Interest

The New York Times on the The Afterlife of Steig Larsson.

A question that keeps coming up, though, is the role of [girlfriend] Gabrielsson, an architect who is said to be a good writer and who, to make extra money years ago, translated Philip K. Dick’s novel “The Man in the High Castle” into Swedish. Gabrielsson herself has been evasive, in at least one interview hinting at something like co-authorship and in another backing away from that position. She now says that she has been misquoted so often that she will no longer discuss the issue and that the whole story will come out in her own book, to be published in France this fall. Nevertheless, I tried to press her a little. Is it fair to say, I asked, that while Larsson may have shown the books to her or discussed them with her, he was the author?

“I’m not sure you could say that,” she said and paused. “He did certainly write them himself ­— I think that’s fair.”

“But if he wrote them, then isn’t he the author?” I asked, a little baffled. “Or is that too simplistic?”

She smiled and said, “Yes.”

Author Cheryl St. John has a list of  Irritating Things — like heroines who giggle –  in romance at Petticoats & Pistols. I recently enjoyed my first book by St. John, The Prairie Wife. It is one of my favorite kinds of romance (marriage in trouble) and it made me cry, a very rare thing. You can read a review of it by Wendy the Super Librarian at TRR here.

A great post on Betty Neels: Metafiction and Repetition by Laura Vivanco over at Teach Me Tonight.

I’d like to suggest that in the passage I quoted above, Neels seems to be trying to diffuse any reader dissatisfaction with her heroine by addressing the fact that the heroine is being ‘tiresome’. The metafictional moment takes the reader out of the story, and by emphasising the reader’s superior knowledge, it perhaps encourages identification with others who also have superior knowledge of the situation, namely Neels herself, and characters such as Serena’s mother and Gijs’ friend Sarah, all of whom are aware that Serena and Gijs love (or will love) each other. Instead of experiencing the heroine’s confusion and distress with her, it seems that the reader is positioned alongside the benevolent matchmakers.

Author Courtney Milan on Titles So Awesome, They Used ‘em Twice. This is actually a big pet peeve of mine in the romance genre. I can see reusing long forgotten titles, but when recent and popular titles are reused, it feels like a total lack of effort and concern (for example, Dark Lover, first used by JR Ward and then by Brenda Joyce 4 years later).

The Reading Experience has a response to the news that

The Poetry Foundation’s Harriet blog recently announced it is abandoning the “discussion model” to provide instead “a daily news feed with links and excerpts from other outlets around the world.” This means that the site will no longer feature blog posts from a selected group of poets “discussing” poetry but will become like every other digest blog offering “news.”     The PF is making this move because “The blog as a form has begun to be overtaken by social media like Twitter and Facebook.”

I once feared Twitter would have a negative impact on blogs, but I think the initial tidal wave of interest in Twitter has passed, and now it fits in with the other existent media. Or that might just be my own disenchantment with it.

Last week, we talked about whether age matters in reviewing. YA author (book deal at age 15), Steph Bower, wonders Whether age Matters in Publishing. (via Galley Cat)

Along the same lines, I am the last to know about Jezebel’s column, Fine Lines, by Lizzie A. Kurnick, which reviews all the old YA classics, from Judy Blume to V.C. Andrews to Lois Duncan. I have wasted untold hours reading through the great reviews of the books of my youth.

Kristie has recently reread Linda Howard’s After the Night … and she still loves it! I seem to recall a very steamy porch scene in that one.

At Ars Technica, an interview on Privacy, Security and Memory with Nick Carr (via @jafurtado). they cover a lot of ground, but I found this remark especially interesting:

When I wrote this new book, The Shallows, I definitely throttled back on my connectivity. I closed down my Facebook and Twitter accounts, and I tried to limit my checking of e-mail to a couple of times a day. And I did other things—I moved to a place where there was no cell phone connectivity or texting. And it definitely made a difference. You regain a certain calmness of mind that allows you to read a long book without hopping up every other page to check e-mail or do some Googling. I think it really underscored what I had begun to fear, which is that I and a lot of other people are really training our brains to skim and scan all the time, and along the way we’re forgetting how to slow down and read or think deeply and be contemplative.

Practical Tactics for Dealing with Haters by Tim Ferriss. A fun read, although I wonder where the line is between “fair critic” and “haters”. Reading Ferriss’s piece it looks like there’s no room for fairminded criticism. You either “get it” or you “just don’t get it.” I have no idea who he is, by the way, but his bio says he is the “Indiana Jones of the digital age”.

Just for fun: here is a video of an Argentinian artist who has converted a tank into a moving book rack. He travels the country giving out books for free.

Thriller writer Jon Konrath has a refreshingly pragmatic view of piracy (via @shannonstacey).

As you see by the recent picture, I’m being pirated. Google pointed to 8880 different sites where my work is being illegally shared. And these are just torrent sites. This doesn’t count file lockers, which I believe account for many more downloads than torrents.

And yet, I’m not worried. I’m currently selling 220 ebooks per day, and that rate shows no signs of slowing down.

So everyone needs to take a big, collective breath, let it out slow, and stop worrying about illegal file sharing. Here are some reasons why.

2. Authors vetting reviews

A few folks have been posting about authors contacting reviewers to ask that negative reviews not be posted. One blogger said she occasionally lets an author vet her review to just to make sure she hasn’t written anything the author would consider a spoiler. I was amazed at how many people in various comments threads indicated that they have contact with authors prior to posting reviews (ok, more than 1 would have amazed me. Call me naive.).

I find reader review blogs (including this one) very interesting, and I like to think about where they fall on the spectrum that has “fan club” at one end and the NYTRB at the other. Finding out that there is this kind of “behind the scenes” stuff prior to posting reviews reminds me forcefully that for plenty of bloggers, the idea is only to talk about books, and to enjoy more contact with authors of those books.

3. Cheating in Contests

The Book Smugglers have a great contest with loads of books on until May 29 in celebration of BEA, which they will both attend this week.

I noticed the rules explicitly bar people from entering more than once. I Tweeted about it, and sure enough, several folks, including The Book Smugglers, indicated that yes, multiple contest entries from a single individual are a problem. I am guessing the remedy is checking IP addresses, but the Smugglers’ current contest has 235 entries as I type this, and whoa, what a pain.

I tend to be very jaded about contests myself. Whenever I have one, I see names I have never seen here or anywhere in Romland showing up, and I wonder if these people just troll the internet for contests. If they win the books, will they even read them, or just sell them?

4. LOST

I had one eye on the finale last night. We abandoned Lost a couple of seasons back, and we still think it would have been a great show if it had ended after Season 3.

There are already some cute jokes:

And Season 1-6 of Lost reenatcted by cats in one minute.

4. Personal

Last week was incredibly busy, and I did not finish Jane Eyre. Not only was I working every day at both hospital and uni, but we had a tree cut down, which meant splitting and stacking a cord of wood, electricians in and out installing light fixtures in three rooms (which I had to go to Loews to buy *shudder*), moving furniture from one room to another (twice) and having new furniture delivered. Today the painters arrive, which means more moving of stuff.

I did not get a sense that many folks were into reading Jane Eyre, although author Victoria Janssen, who has a terrific blog in general, has posted three great posts on it (first one here), Nevertheless, I’d like to apologize to anyone who had planned on discussing it yesterday. I am loving the book and not wanting to rush through it. I’ll post my review and open discussion Wednesday. I think.

The blog is the one area of my life that is totally at my whim. I only write what I want to when I want to. Even when I say I am going to do something, I feel only a prima facie obligation to do it, which can easily be overridden.

Still, it would be better, I realize, if I never wrote things like “I am doing X on Y day” or even “I am doing Z soon.” My main line of defense is that those are honestly my plans at the time of writing. My other defense is that almost nobody cares what I do on this blog. Still, one ought to do what she says she is going to do. As a second best, I am working on never saying I am going to do anything.

HAPPY WEEK!

22 responses so far

Are you hot for Harlequin Blaze? Take your temp with this quiz

May 22 2010 Published by under Genre musings


I like Harlequin Blazes. I even have a subscription. And some of the most reliably fun romance authors, like Sarah Mayberry, Kathleen O’Reilly, and Brenda Jackson, write Blazes.

Undeniably, there is a certain descriptive vocabulary you get used to if you read a lot of them. There are some words and phrases I can’t read — in any book — without thinking first of how they are used in a Blaze.

See how well you know Harlequin Blaze by choosing correct meaning for each word or phrase:

1. “Slick folds”

a. Our heroine has earned a rare high compliment from her origami club president

b. Our hero works at a laundromat

c. Someone is ready to par-tay

2. “Toe-curling”

a. In your digital reader, you have accidentally opened The Wonderful Wizard of Oz

b. In a boundary breaking romance, the hero suffers from claw toe

c. Someone is ready to par-tay

3. “Pebbled”

a. The heroine is shopping with her metrosexual best friend for leather totes

b. The hero grew up on the shore of Cape Cod

c. Someone is ready to par-tay

4. “Hot and tight”

a. The heroine’s new Spanx

b. The hero is suffering a myocardial infarction

c. Someone is in the middle of a par-tay

5. “Neatly trimmed thatch”

a. The heroine is having some roof work done

b. The hero’s beard

c. Someone is dressed for the par-tay

6. “A single thrust

a. The heroine is an architect

b. The hero is a matador

c. Someone is in the middle of a par-tay

7. “Thick ridge”

a. The heroine is a geologist

b. The hero is heir to a potato chip empire

c. Someone wants to par-tay

8. “Milking”

a. The heroine is a wetnurse

b. The hero is a dairy farmer

c. Someone is nearing the end of the par-tay

9. “Pulsing core”

a. The heroine is at Pilates class

b. The hero is watching Journey to the Center of the Earth

c. Did someone say “par-tay”?

10. I can think of a few more (descriptions of how the hero moves, for example. He never just gets out of a chair. He always “moves in one fluid motion”, often with “predatory grace”.) What’s a word or phrase you’ve seen more than once?

9 responses so far

What *IS* a soul anyway? Review of Dead Sexy by Kimberly Raye

May 20 2010 Published by under Reviews, Vampires

My Harlequin Blaze Audible subscription is the gift that keeps on giving, and this week it was Kimberly Raye’s 2007 vamp romance, Dead Sexy, which is the first in her Love at First Bite series. Set in rural Texas, Dead Sexy is the story of a 100+ year old motorcycle riding vamp named Jake McCann who comes to Skull Creek to face off against his maker and nemesis and either become human again or be destroyed trying. Jake feeds on both food and sex, and needs a lot of both to be ready for the big showdown. He spies Nikki at a carnival and senses that she has resisted her own sexual impulses for so long that she would be a fantastic power source. For her part, Nikki is 30 years old and the owner of a beauty shop. She loves her small town life, with the bake sales, the nursing home bingo, her fixer upper house, etc., but has had a hard time finding a decent man. Her mother is the town slut, a woman who knows how to have a good time. Nikki’s aunt, who helped raise her, is the town angel, and is perhaps a bit too concerned with propriety. Nikki tends to view all of her choices through the lens of how those two women — the angel and the devil –  would feel about them. Her character arc involves learning to live for herself.

It’s a Blaze, so there are sex scenes, including while riding a moving motorcycle.

I actually still enjoy the vamp man/human woman romance, and I appreciated the “sexual energy” twist thrown in (the more orgasms, the more power he has and the less blood he needs to drink  — not his orgasms, of course, but his partner’s. That is how you know you for sure are reading Harlequin and not something else.) but this romance was on the unthrilling side. Jake was a standard issue hero, perfect looking, perfect in bed, manly, protective, etc., and thus bland. Nikki was more interesting, with shades of Sookie Stackhouse, and a great sense of humor. The portrayal of small town life was more cliched than the norm. I found myself looking at my iTouch to see how far along I was more than I usually do.

The book ends with an Epilogue which is actually the beginning of the next story in this series, Drop Dead Gorgeous. Neither Nikki nor Jake is in the epilogue, and I confess I was annoyed by it. Another in the series is Cody. (Others are A Body to Die For and Once Upon A Bite. If you really really love cowboy vampires, you can get all of them in an e- bundle).

Now for the question about souls. In this book, Jake says angrily to his maker “you stole my soul.” But what does that mean? When I think of all the things a soul could be, Jake has them or could have them. Possible candidates:

  • Free will
  • Consciousness and/or self-consciousness
  • Spirit in a religious sense
  • Unique personality
  • Mind
  • Essence of some unspecified kind
  • Moral goodness

Often in vamp lore the soul is code for moral goodness, which is connected to the lack of free will signaled by blood lust. So, for example, in the Buffy series, when Angel loses his soul he becomes evil, and not just evil, but seemingly incapable of being good. He bites, drinks and kills whomever he wants.

When people criticize vampire romance for “defanging the vampire” one thing they might mean is that the difference between being a vampire and being a human is indiscernible. Certainly in this book it was. Sure, Jake had to stay out of the sun, had to drank blood, and was stronger than the average male human, but other than that, nada. How different is that, really, from a pale skinned bodybuilder who has a weird diet? You can point to eternal life as the big difference, but I find the concept “eternal life” to be essentially meaningless in books like this one. Their age difference may as well be 5 years as 500 for all of the difference it makes to Jake’s character or to their relationship.  Jake sought his maker for a century, but would it have really felt different to me as a reader if he had only been looking for a decade? I don’t think so. And the HEA is eternal, but to me as a reader, it feels like any other HEA, which always has an infinite feel anyway.

What narrative force is the idea of a “lost soul” is supposed to have. What is it doing for the book if it isn’t any *thing* in particular?

7 responses so far

Monday Morning Stepback: You Raise Your Kids and I’ll Raise Mine Edition

May 17 2010 Published by under Monday Morning Stepback

The weekly links, opinion and personal updates post

1. Links of Interest

I’ve announced the winner of my Romcon ticket giveaway (Jacqueline). If you are still in search of a free ticket, there is another contest on, at the Borders True Romance blog.

I’ve put up a page with a list of RomCon attendees. It is woefully incomplete, I realize. If you plan to attend, comment or shoot me an email and I will add you.

Faced with the happy prospect of choosing between a Kindle and an iPad for reading? Take this helpful quiz at Dirty Sexy Books.

Nick Carr on the difference between social media addiction and dependency, discussing the results of a University of Maryland study which asked students to unplug for a period and write about their experiences (from @jafurtado).

At the Fourth Vine, a rant against authors who rant against fan fiction (via @nadialee). I think it gets at some of the deeper issues at play:

Fan fiction folks took your power away. It used to be that the Anointed Few stood at the front of the room – sometimes a tiny classroom, sometimes a giant lecture hall with video cameras catching each golden word for those not lucky enough to hear it in person – and spoke. And everyone else was just audience: the listeners, the readers, the passively entertained. Fandom has turned your lectures into seminars. We keep speaking up. We keep having our own ideas. We don’t even have the courtesy to raise our hands and ask to speak. And sometimes we lock you out of the room altogether.

Marg at Reading Adventures The Adventures of an Intrepid Reader on When a New Book isn’t a New Book:

Not too long ago, there was a Nora Roberts novel released under the name of Big Jack. What wasn’t particularly clear was that this work had previously been released as the first half of Remember When, which was a novel where half had been written as Nora Roberts and the other half was written as part of the In Death series that she writes as J D Robb. If I had been buying her books only to realise that this was a poorly publicised re release I would not have been happy.

Also by Marg, who is on blogging fire (with a lovely new design to boot),  “You Haven’t Read That?”:

Some times one particular book seems to be popping up everywhere. Maybe part of the reason for that is that as a blogger I tend to gravitate towards the blogs of people who I know have a similar reading taste to me. Some times though, that hype is more manufactured that organic and there are times when it isn’t easy to tell the difference.

At The Millions, All Great Works of Literature Either Dissolve a Genre or Invent One: A Reading List. It’s a fun list (although the choice of Elizabeth Costello among Coetzee’s works is baffling). But you know what I liked best about it? In my Google reader, it was followed by a big ass advertisement for:

Last week was the 50th anniversary of the birth control pill. Gail Collins had a good op-ed on the importance of this little pill, the utter absurdity of its continued controversial status, and why we cannot relax our efforts to protect women’s reproductive rights:

Even though 100 million women take the pill every day, to the great relief of 100 million or so of their partners, the terror of mentioning birth control is so great that the humongous new health care reform act has managed to avoid bringing it up at all. Advocates are hoping that when the regulations are finally written, they will require health insurance to cover birth control pills like any other drug. But nobody is sure.

The trend to turning a literary genre into a self-help manual continues, as there is another nonfiction romance book on the horizon, Make Love Like a Romance Author. I think readers know I generally turn a jaundiced eye to these kinds of projects. But we’ll see.

2. Kerfuffle alert: A 15 year old reviewer at Dear Author named John reviewed an erotic romance, and some people didn’t like it.

I have no comment on it, but please follow one of the links provided if you would like to participate in the ongoing discussion.

I do want to respond to one claim: that no minor should be reviewing anything on a blog that also reviews books with adult content.

I have run afoul of his rule by allowing my older son to review children’s books here on occasion. I also review erotic romance on occasion, and write posts on things like rape in romance. Have I placed my child in some kind of danger by allowing him to post on this blog? Obviously, I don’t think so. As his parent, it is my job to to control, mediate, or share sexual information in ways I deem appropriate, in accord with the sexual ethic in which I believe. My son doesn’t read the erotic romance reviews, or indeed do anything online of which I am not aware (helpful tip: keep the kids’ computer in the kitchen. Works great for us!). Sharing this blog with him is a way to share my love of reading, and to include him in a hobby which has become very important to me.

For those who are worried about adult content and minors, let me just add that by the time they are 18, most children in the US will have been exposed to millions of powerful visual images of sexuality and violence — often combined in ways that buttress rape culture  — thanks to their televisions, video games, and movie theaters. I would much rather have my ten year old read a review his feminist philosophy professor mother had written of an erotic romance, a book typically written by a woman celebrating women’s sexuality, than be exposed to a portrayal of women like the one of “the girlfriend” (i.e. “tits and ass”) from Transformers 2:

Managing my children’s access to this blog is no different from managing their access to anything else. I appreciate your concern, but when it comes to my children, please leave the parenting to me.

3. Philosophy and taking time

The New York Times debuted today The Stone, a “new forum for philoosphers on issues both contemporary and timeless.” Today’s installment is an essay by editor Simon Critchley on What is a Philosopher? Although my friends in feminist philosophy have already criticized it, I liked it.

He starts by giving the pop culture account of the philosopher:

What is a philosopher, then? The answer is clear: a laughing stock, an absent-minded buffoon, the butt of countless jokes from Aristophanes’ “The Clouds” to Mel Brooks’s “History of the World, part one.” Whenever the philosopher is compelled to talk about the things at his feet, he gives not only the Thracian girl but the rest of the crowd a belly laugh. The philosopher’s clumsiness in worldly affairs makes him appear stupid or, “gives the impression of plain silliness.” We are left with a rather Monty Pythonesque definition of the philosopher: the one who is silly.

And then he continues with his own take:

Pushing this a little further, we might say that to philosophize is to take your time, even when you have no time, when time is constantly pressing at our backs. The busy readers of The New York Times will doubtless understand this sentiment. It is our hope that some of them will make the time to read The Stone. As Wittgenstein says, “This is how philosophers should salute each other: ‘Take your time.’ ”

I understand why many philosophers have reacted negatively to the “otherworldy” emphasis in Critchley’s piece. We — especially we politically engaged philosophers — are all about this-worldliness. But while I don’t like Critchley’s terminology (this is a bit much, for example: “Nurtured in freedom and taking their time, there is something dreadfully uncanny about the philosopher, something either monstrous or god-like or indeed both at once”. Blergh.), I agree with him that creating time and space for reflection is something important that we do.

Prior to writing this post, I was in clinical ethicist mode. I met early this morning with a team of physicians and nurses in our palliative care unit, in their conference room on the 6th floor of the hospital. Just getting this group together was a major feat of scheduling (not mine). And getting them to shut the conference room door and not answer the phone or their pagers was another. I had them for 60 minutes, and we talked about respect, and dignity, and suffering, and moral residue, and ethical dilemmas, and the boundaries of responsibility, and all the things they don’t have time to talk about when they are racing against the clock.

Nothing was officially “achieved” in the session. Nobody’s life was saved, no clinical decisions were made, no papers were signed, no CTE or CEU credits were earned, and there were no “action items”. We didn’t even have an agenda, which I am sure violates some hospital rule of which I am blissfully unaware. But I think it was a good meeting (external signs of this were the clapping, and one doctor asking if she and I could have a mind meld), and I think philosophy was practiced in it. Giving these people the time, space and permission to turn momentarily from the pressing needs of particular patients and families, and to think about the concepts that inform their particular decisions was a contribution I made as a philosopher, and I felt privileged to be able to make it.

By the way, Critchley is a very controversial choice. See Brian Leiter’s “What is the NY Times Thinking”, in which he refers to Critchley as “a complete hack”.

One last thing — not that this has anything to do with philosophy, mind you — but there is a new website, The Versatile PhD:

The Versatile PhD mission is to help humanities and social science PhDs develop and demonstrate their versatility as professionals. We want you to be informed about academic employment realities, educated about nonacademic career options, and supported in preparing for a range of possible careers, so that in the end, you have choices. The key concept here is versatility: the ability to apply your skills and interests in a wide variety of fields

4. Personal update

Not much to report. On Thursday I think I will attend our local library’s book club. This is a practice run at “socializing” prior to RomCon. The books are Janet Evanovich’s One For the Money, and Kim Harrison’s Dead Witch Walking. I am reading them now. I will report back.

I don’t know for sure what I will post this week, but I promise to post the second part of my PCA presentation and probably a review of Felski’s Uses of Literature.

Also, remember that the Jane Eyre discussion begins Sunday.

HAPPY WEEK!

52 responses so far

True Blood Season 3 Preview Post

May 15 2010 Published by under Sookie Stackhouse, Vampires

As we gear up for the third season of True Blood, beginning June 13, the first full preview was just released. Click here to view it.

This post contains some spoilers.

Just as the first two seasons were loosely based on the first two of Charlaine Harris’s Southern Vampire Mysteries, so the third season will be based on the third book, Club Dead (which I review here). As we saw in the finale of season 2 of True Blood, Sookie’s vampire boyfriend Bill Compton goes missing. In the show, he vanishes in the middle of a marriage proposal, but in the book, after a period of distancing behavior (he is always holed up with his computer, to Sookie’s dismay) Bill leaves for an extended, mysterious “business trip” to Seattle. Later, after she is attacked by a were at Merlotte’s, Sookie learns — from Eric and Pam — that Bill was on some kind of business for the Queen of Louisiana (Sophie Ann), but has returned to his sire, Lorena, and is now in terrible danger.

Here is a cute promo poster:

Unlike the TV show, readers of the Sookie Stackhouse mysteries have had no knowledge to this point of who sired Bill, when, why or how (actually, Bill’s origin story is never told in the books, making the TV Civil War and roaring Twenties vignettes completely unique to the show). The addition of origin stories, including Eric’s, was an interesting choice on Ball’s part. I confess I felt their lack as I read the books, but perhaps I have just been conditioned to think of vampires as an “other” whose existence needs explanation, while Harris wanted readers to think of them as no more mysterious than humans. That said, despite finding the character of Eric’s sire Godric intriguingly enhanced on the show (and Season 3 will have lots of flashbacks of Eric and Godric), I haven’t been thrilled with them.

In Club Dead, a furious and heartbroken Sookie nevertheless does the right thing (by her lights) and sets off for Mississippi to rescue Bill. There, she is under the protection of Acide Herveaux, a were, and we are introduced to a new paranormal element (Merlotte’s owner Sam is a shifter, quite different in Harris’s universe from weres). Weres are pack animals, with a tendency to aggression. They are anxiously waiting to see how the vampires’ “coming out” goes for them among the humans. Some weres want to follow suit. The title of the book, Club Dead, is the nickname of the Mississippi bar where the weres hang out.

This is the book where Harris deviated completely from the romance script. Not only does Harris introduce a fourth potential suitor in Alcide (leading some to call “The Anita Blake” effect on her), but what happens between Bill and Sookie is surprising, shocking, and sad.

I will be very interested to see what Ball and co do with this book in Season 3 of True Blood. Overall, the casting has been great (Sookie the one major exception), and from what I can see casting of new characters continues to impress, at least visually. Here’s a shot of Alcide:

Joe Mangianello

And Alcide’s problematic girlfriend, Debbie Pelt (a character I really enjoyed):

And the vampire king of Mississippi, Russell Eddington, played by Denis O’Hare:

Here’s the regular cast promo poster:

Ball will continue to add his own elements to Harris’s universe. First, they’ve cast a beautiful new female dancer at Fangtasia, whom Eric will hook up with. Second, they’ve cast someone as a Reverend Daniels, to whom Tara’s mother will turn for comfort. A vampire love interest has been cast for Tara. Lafayette will get more screen time, as well as a boyfriend and mother, the latter played by Alfre Woodard. Also, more in store for Arlene and her relationship to the supernatural, and more with Jessica and Hoyt, the latter moving in with Jason, who continues to experience comedic sexual mishaps.

It looks like Ball will continue his signature bloody and hypersexualized tone, and that includes accelerating the timetable of Sookie and Eric’s complex developing relationship (notice her come on to him in the preview).

I enjoyed Club Dead a lot, especially the introduction of Alcide and the weres. Readers will recall a very memorable final (or near final) scene with Eric, Bill, and Sookie. My eyes may be deceiving me, but I thought I may have seen evidence of it in the preview.

While I would have loved it if Tara and her mother would have gone the way of the maenad, there’s a lot to look forward to come June 13.

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Review: The Giver, by Lois Lowry (mother and son joint review)

May 13 2010 Published by under Children's Books

The Giver, a futuristic/dystopian/”soft” sci fi fantasy of about 175 pages, was first published in 1993. It won all kinds of awards, including the Newbery Medal, and is often assigned by US school teachers in middle school, although critical reception has been mixed. I started hearing about it when I moved to Maine. It turns out that Lowry is a Maine author of a sort:

My children grew up in Maine. So did I. I returned to college at the University of Southern Maine, got my degree, went to graduate school, and finally began to write professionally, the thing I had dreamed of doing since those childhood years when I had endlessly scribbled stories and poems in notebooks.

My students often ask me if I have read it  — it picks up some themes we address in Intro to Philosophy and Ethical Theory, especially as explored by Plato in the Republic and John Stuart Mill in Utilitarianism — but I never had, because I was out of college by the time it was published. My 10 year old fourth grader just read it for school, so it was a good time for me to do so as well.

Here is our joint review (He wanted pictures of us as we were writing it):

Goofing around

Finally, a decent one

Excerpt (Jonas, the main protagonist, and his little sister Lily, are having their evening chat about feelings after dinner with their parents):

[Jonas] listened politely, though not very attentively, while his father took his turn, describing a feeling of worry that he’d had that day at work: a concern about one of the new children who wasn’t doing well. Jonas’s father’s title was Nurturer. He and the other Nurturers were responsible for all the physical and emotional needs of every new child during its earliest life. It was a very important job, Jonas knew, but it wasn’t one that interested him much.

“What gender is it?” Lily asked.

“Male,” Father said. “He’s a sweet little male with a lovely disposition. But he isn’t growing as fast as he should, and he doesn’t sleep soundly. We have him in the extra care section for supplementary nurturing, but the committee’s beginning to talk about releasing him.”

“Oh, no,” Mother murmured sympathetically. “I know how sad that must make you feel.”

Jonas and Lily both nodded sympathetically as well. Release of newchilden was always sad, because they hadn’t had a chance to enjoy life within the community yet. And they hadn’t done anything wrong.

There were only two occasions of release which were not punishment. Release of the elderly, which was a time of celebration for a life well and fully lived; and release of a newchild, which always brought a sense of what-could-we-have-done. This was especially troubling for the Nurturers, like Father, who felt they had failed somehow. But it happened very rarely.

Jessica: Ok, how would you describe this book to someone your age who has not read it?

David: I would describe the book as about a perfect world that’s gone wrong. The main character’s name is a boy named Jonas. Jonas is eleven and soon he will be told what his Assignment is. That is his job. There is no pain, you can’t feel it. Everyone has the same birthday. There is no war. There is no hunger. No bad things that happen. It is a very civilized community.

Jessica: So what has gone wrong?

David: The whole community isn’t really the best community. You can’t have your own babies. That’s the birth mothers’ job. You don’t choose your own job. The elders choose it for you. You don’t choose your wife or husband. You take pills for your “stirrings”. You get a comfort object like a stuffed elephant. But they take them away from everyone at the same age.

Jessica: So what happens to Jonas?

David: Jonas is about to become a “Twelve”. He has been seeing things and is worried. The ceremony of the Twelves is the last age ceremony. After that nobody knows their age. And they tell you your assignment. Everybody gets a job except for Jonas. Jonas panicked because the elders never make a mistake. It is supposed to be perfect, a utopia. But after everybody else got their jobs, one of the elders says that Jonas has not been “assigned”. He has been “selected” to be the Receiver of Memories. Everybody gasps because this is so rare. There is always just one Receiver at a time in the whole community and it is an honor and a heavy burden.

Jessica: What does the Receiver do?

David: After that he goes to his training with the Giver, who teaches him about what the Receiver does. The Giver gives memories of the past to Jonas by touching him. Some of them are painful, of war and famine. It hurts Jonas to receive these memories. But some memories are nice, like of sun and snow. The Giver explains that Jonas has been seeing colors, which the rest of the community can’t see.

Jessica: Did you enjoy this book? How would you rate it on a scale of 1 to 10?

David: I would give it an “8″. It is not perfect because they just didn’t tell so much. The only action part came at the end. The book was quick, almost like an abridged version. I need an unabridged version that tells me all about this, or a prequel. How did this community come into being?

Jessica: What would you say the theme or underlying message of this book is, if there is one?

David: If you strive to be perfect you might be doing more harm than good. But you’re blind to that. Also, a world with choices is better than a world without choices. Even if you make wrong choices, it’s your choice. You should have a say. Even George Bush.

Jessica: What?

David: I said “even George Bush.” [pause] What, you don’t want to get political on your blog?

Jessica: No …  it’s just [can't hear self think over loud chicken clucking noises made by 10 year old] Fine. It stays. Now, what’s the title of a book or two that you really loved?

David: Fellowship of the Ring by JRR Tolkien, and The Name of This Book series by Pseudonymous Bosch (check out his really cool website here :lol: )

Jessica: Ok, time for bed. I am going to add a few comments now.

David: What comments?

Jessica: Just some adult observations.

David: What adult observations?

Jessica: You can read it tomorrow. Now go to sleep!

I think David hit it when he said this book read like an abridged version. I was drawn in at first, especially by the simplistic but evocative language (as in the excerpt, “newchild” for infant, “released” for euthanized, etc.) but there was a point when the suspension of disbelief became very difficult for me to maintain. Like, how did they get rid of perception of color? Of the sun? Of strong emotions? Of animals? And how can humans even function without those things? In Brave New World, to which this is often compared, you got a sense of the mechanisms — genetic engineering, pharmacology, and behavioral psychology — by which obedience was achieved, but we get nothing in The Giver.The book crossed lines between between fantasy and allegory that I found jarring.

I also had problems with the way memory was portrayed. Memories of the type explored in The Giver (episodic) are always someone’s. How can one person have first person experiences of things he hasn’t experienced? Also, memories are portrayed sort of like they are in the Harry Potter series. Remember Dumbledore’s pensieve? Each memory is a discrete thing, unconnected to everything else in mental life. That’s not how it works — “memory” is really a folk name for a set of cognitive capacities, not little drawers in our brains that hold Polaroids. I’m not asking for a neurologically accurate account of memory, but to not even explain a little how it is that one human mind can hold the world’s memories going back generations, how it is that such memories are transferred to the Receiver, and how exactly it will happen that if they are not successfully transferred they “go into everyone”, were gaps even my 10 year old noticed.

Books like this always work a little better for me when the attractions of the futuristic world are actually attractive. To me, the community in The Giver — devoid completely of close personal relationships, including familial ones, as well as romantic love and sex, creativity (no artworks, including books), and so many other things, not to mention color and weather!  — was hard to reconcile with anything I know about human desires or visions of the good life. To my son, though, it was attractive, so maybe that’s the problem with reading this book for the first time at my advanced age.

The novel ends abruptly and ambiguously. In my reading, the ending was very, very bleak, and as such, it was the thing I liked best about the book. In her Newbery speech, Lowry said:

Those of you who hoped that I would stand here tonight and reveal the “true” ending, the “right” interpretation of the ending, will be disappointed. There isn’t one. There’s a right one for each of us, and it depends on our own beliefs, our own hopes.

I like that idea, that Lowry has written choice and freedom into the book as a kind of meta-reinforcement of the theme the book.

Unfortunately, from what I gathered by looking at reader comments on Goodreads, this is the first of a trilogy, and subsequent books foreclose the pessimistic reading I prefer.

Gender, race and sexual orientation are interesting in this book. Jonah’s mother, more intelligent, is in the Justice department and his father is a Nurturer, a kind of gender reversal. It’s slightly odd that sexual reproduction still takes place in that community (where are the clones?). In the era of “Sameness” there are no colors, so apparently no races or ethnicities. But what does that mean exactly? Lowry has said she conceived the world devoid of racism and other social ills. Do we have to get rid of race and ethnicity to get rid of racism? Finally, non-hetero sexualities do not exist.

I’m glad I read The Giver. I can now see why my students mention this book so often in my philosophy classes. I think it is possible to get into some interesting questions raised by The Giver, like the tradeoff between freedom and security, the individual versus the collective good, the relationship of the experience of suffering to true joy. But I do not think this book has very interesting things to say about those questions. I liked the prose, the setup, and the plot. I just wish, like David said, there was more of it.

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