Tag: salty

Books that have bummed me out recently

No rant, I’m just tired. I don’t feel excited about anything.

I’ve been reading the free books out of the office and it’s been depressing. Some writers I used to like are doing things I just can’t get behind. Writing really long novels about New York. Circlejerking each other in ‘critical essay collections.’ Turning weirdly centrist. I guess all your heroes eventually disappoint you but these weren’t even my heroes, more just people I could rely on to write something I was interested in.

I’ve always been pessimistic about poetry and writing in general. Maybe I’m a cynic. I’m sensitive about poetry being both the thing I love and also incredibly annoying. I’m always willing to sell poetry out in the name of really good fiction.

The past few weeks I’ve been up to my neck in bad fiction, which I thought I would find less dismal than reading poetry I didn’t like but turned out to be worse. The straw that broke the camel’s back was called Peach by Emma Glass. I should say that I more skimmed than read it and then read the Goodreads reviews, but check out this opening sentence:

Thick stick sticky sticking wet ragged wool winding round the wounds, stitching the sliced skin together as I walk, scraping my mittened hand against the wall.

Jessica Sullivan called the book ‘more like a 96-page poem than a novel,’ which rankled a bit but also made me laugh. Fiction that’s horrible to read? Just call it poetry!

The spectacle of excess that is PUBLISHING churns out this stuff.

I was reading A Separation by Katie Kitamura the other day, which I liked OK, when I discovered, in the middle of a $25 hardcover, a big fat typo (“breath” where it should say “breathe”). The book is out from Riverhead, an imprint of Penguin. This is the big dogs! And still no one could be bothered to read the entire thing through… just one last time before they sent it.

Of course, that person would probably be an underpaid, overworked assistant…

OK maybe a little bit of a rant.

The last book I read was called Fire Sermon. I have a soft spot for literary fiction that’s basically erotica but this book had me gritting my teeth. It’s a first-person narrative of an affair between a married professor and a poet told largely through email and ugh, they just have so much money. At the end, the professor and her husband who rapes her, whom she hates and lies to, grow old together in a nice house in the countryside.

I could just not read this stuff and then not get angry about it, but this is what the ‘reading public’ is exposed to. This is what they buy. I just want to read something I connect to, that entertains me without pandering… I know it’s out there, but sometimes I struggle for months to find it, even as the books on my desk keep piling up.

Trope request denied

Recently I went on TVTropes in search of information about the wine/book club mom trope, which I swear to god exists both in real life and on television. On the message board I was told that the wine/book club mom trope is not substantially different from Cute Bookworm—which is straight up wrong. A wine/book club mom is neither a nerd nor a girl, nor is she a Hot Librarian. Anyway, I’m mad about it.

“Exchanges” by Theodore Enslin

It is not
            cold fire
I see
     in you
            not
gem-like flame
which is silver
and spot cash.
It is more
            difficult:
exchange of gold
                        and warmer.
I do not call it poem
or you its poet
                   but
I have found your mouth
delighted
                   by its lack of speaking.

seriph
       fine-honed
changeling
       one for
another
       and the other
flourish
       by one
length
       changing
not changed
       the difference

I found this Theodore Enslin chapbook from 1964 in the John K. King bookstore in Detroit, where bad books go to rot by the thousand. Enslin is ripping off William Carlos Williams so hard it’ll make your head spin, but with different intentions. Enslin is an old-fashioned Romantic, featuring high diction, “flowers / and stallions / unicorns / and / white geese.” There’s nothing modernist in his poems, no distrust of the lyric impulse.

This poem is at the center of the book, along the gutter; it’s the first poem if you read if you let the book fall open. I was charmed by the spondee of “spot cash”, a metrical anchor for the sinewy lines that surround it. I also thought “changing / not changed / the difference” was a wonderful ending.