The Life of Reading

I recently finished volume four of Karl Ove Knausgaard’s beguiling and satisfying My Struggle. I was reluctant to get to the end, feeling the immense, possibly false affinity that I get as a reader, believing I’ve found a friend in the writer. (It didn’t help that I pitched him my novel when he was at City Arts and Lectures, and he graciously heard me out.) Eventually, I had to finish the book. But what I realized is that, while reading My Struggle, I had no desire to read anything else.

Now I’m in that strange predicament of looking for another book to whet my reading appetite, and am randomly reading five books at the same time because I cannot entirely give myself over to one as I sort of like them all a bit, and am still unsure where I stand with any one of them. I find myself in that space a lot, probably because there isn’t one book I am wrapped up in. In fact, I’d say I usually read several books at one time, as if a model of my mind and thought process. If a book is good enough, I’ll make the time to read.

I find it hard to just read any book--the time and usefulness trade off is too considerable for me--though I know a lot of people on Goodreads and such that seem to read a lot and varied and widely. I guess I just trust that everyone reads all of the books they claim to read as they indicate on social media, but perhaps this is a facade. I have a hard time not being honest about what I have or have not read (Ulysses: read; Infinite Jest: 4/5ths read; Magic Mountain: One third read; Moby Dick: read; The Brothers Karamazov: half read) Did I read enough of these novels, or do I intend to finish them some day? There’s something of a moral complacency I feel, as a serious writer and reader, by copping out as I must have, and probably will, on so much of my serious literary fiction reading. And then there is the question of which unread masterworks I still, one day, intend to read.

I don’t usually give up. In the case of many of those aforementioned books, I began reading them years ago, and it was years ago when I stopped reading them. My tendency is to find a reason to finish a book: guilt, having to review it (or wanting to), or simply because I like it. Maybe I would be more equipped to see them through to the end, now--or maybe not.

Much of the time I’m doing wide reading hoping one of the books will catch on, though because I’m reading fiction and non-fiction simultaneously, much of what I choose to read then is based on my mood. If these five books I’m considering now had the Knausgaard magic, I’d love them, too. The odd thing is that My Struggle is comprised of 450 page volumes, of which I’ve read four. I can’t quite get through any of the other long works I have had on my night table for awhile (Murakami’s 1Q84 and Vollmann’s Imperial, though I dip into them occasionally.)

I’ve also made a habit of reading toward reviewing, and so I gravitate toward books under 150 pages since I can probably read them reasonably fast. Also, if I am to review it, I will read it right away, even if this means forcing myself to finish it, which might mean that the book is a slog, and thus I probably shouldn’t review it. I usually won’t review it then if I can help it, because somewhere along the line I decided if I can’t say anything nice about a book, I shouldn’t say anything at all. I’m actually wondering if I should reconsider this approach.

When I solicited a number of name authors who I’ve had glancing acquaintance with (which might be considered low level stalking) to read my novel ImpossibleLives of Basher Thomas, in the hopes of getting them to blurb it, they all said one of three things. Either a.) they didn’t read other writers’ work for the purpose of blurbing; b.) they only read their students’ work; c.) they were too busy, etcetera. I got the distinct sense that, having not heard of me, or not remembering me, rather, they were afraid of reading execrable work. So they nip it in the bud. As it is, I happened to have read much of these writers’ work, so in some way, you’d think they might have been willing to humor me, but alas, no.

I’m not one to be given recommendations to, and in this I take heed when I try to recommend a book to someone. I’ll only recommend a book if asked, usually, and then I tend to pile on caveats. I somehow don’t want to be responsible for someone’s bad reading experience--though if that reading experience is good, I’ll gladly take credit. There are some people I naturally can suggest books to, possibly because I’ve had success getting them to read a book I recommended (and they, either truthfully or just playing along, loved it too.) The last book I recommended to so many people was David Mitchell’s The Thousand Autumns of Jacob de Zoet. Even with that book, I came to feel I suggested it to a few too many people who were not prepared to read a 500 page novel, and couldn’t appreciate the language and story, among dozens of other possible reasons why I liked it so much. There are some friends who have read so much and in such synchronicity with me and my reading, that I might take their recommendations--or used to--without question. Now I’m so selective that I just rely on my gut and a strong sniff test. There are some people who recommend heartily to me a book, going so far as to give me a copy, and rare is the occasion when I will actually crack the thing open and read it. There’s some guilt in not reading it, but not too much. I’m usually already busy reading several other books.

Wide Ranging Interview with Robert Detman at Wisdom of the West

Many thanks to generous fellow blogger Jim at Wisdom of the West, who over the years has left insightful comments on items in this blog. Jim is publishing a serial interview with me about my novel, Impossible Lives of Basher Thomas. This complete interview is available here. The interview took place last month, and covers a variety of items, mainly concerned with character development, themes in the novel, politics in literary production, and the curious question of whether a reader should like or find a protagonist sympathetic.
Here's the introduction to "The Detman Files".
Here's part 1 of the interview.
Part 2.
Part 3 completes the interview.

Rave Review of IMPOSSIBLE LIVES OF BASHER THOMAS from Nomadic Press

Nomadic Press has provided a rave review for Impossible Lives of Basher Thomas:

“This is a novel that will stick with you because of its poetical means of exploring the human condition and Detman’s uncanny ability to weave beautiful, and haunting, imagery.”

Full review here: http://www.nomadicpress.org/reviews/impossiblelivesofbasherthomas

Free giveaway of IMPOSSIBLE LIVES OF BASHER THOMAS a novel by Robert Detman

THIS GIVEAWAY IS NOW CLOSED--THANKS FOR ALL WHO PARTICIPATED--WATCH THIS SPACE FOR MORE . . . EVENTUALLY

Doing a free giveaway here. For the first five people who contact me, (contact info available on this site) I'll send you a copy of IMPOSSIBLE LIVES OF BASHER THOMAS, my novel, which has received the following glowing praise from Publishers Weekly:

“An ambitious novel…layering various methods of storytelling to create a fresh and intriguing work.”

You just have to follow these instructions: Tweet my blog and provide a link to this website, also to @literarydetman with the hashtag #ILoBT and then let me know.

I'll have to get your contact information, but I'll have copies sent out as soon as I receive them from the printer. It may take a few weeks!

On having to explain one’s work (or that dumbing down logic)

There is the idea that, as an artist, you should not have to explain your work. If there’s any need to explain, it seems to highlight some idea of there being a flaw in the work. If I attempt to explain my work, which I often feel compelled to do, it is usually out of a sense that the work will be misunderstood. Or it is just as much to alert an unsuspecting reader that this may not be what you expect. And since I think I can assume a number of folks who will feel compelled or curious to read Impossible Lives of Basher Thomas don’t normally read novels to begin with, I feel as if I have to brace myself for the impact of their eventual failure to get it--if there’s anything to “get.”

Thus when I asked Ben Marcus that question (http://robertmdetman.blogspot.com/2014/10/ben-marcus-responds-to-my-question-on.html), it was because I wanted to know if he ever felt a need to explain his work. Do I note a bit of tetchy sarcasm in Mr. Marcus’s response, as if I’m acknowledging what he is all too aware of? A lot of casual readers will probably not understand his work. This will continue as he tries to become a more mainstream author. If you are notoriously difficult, you can get shuffled into that gray zone: the experimental folks don’t think you are that cutting edge, and the realist folks find you too abstruse. David Foster Wallace, who would seem to require a lot of explanation, often gets a pass, and gets picked up probably as fast as he’s eventually put down by those readers in search of something new to read. And I’m not sure his explanations were any easier to understand than the work itself.

Not to say my predicament is anywhere near what Beckett might have faced, but for him, the necessity to not have had to explain seems paramount. His writing is hardly accessible. Then there is the curiosity of those who hear you expound on this (favorite) difficult author. Inevitably they turn to you, seeking explanation; explication. And in such situations I feel the onus of literature’s great, myriad, plainly inexplicable project that, rather than having one easily consumed and digestible nugget, is rather a project for a lifetime’s study. But no one seems to know this, or thinks it, particularly when they find something not conforming to their preconceived, even received, notions of literature. I can’t help you, I often want to say, as if committing my approval of a difficult writer’s work then requires me to become the village explainer.

There have been moments of panic, while editing Impossible Lives, that I might need to dumb things down a bit, or at least go further to make explicit why I have written it the way I have. But this is not to say Impossible Lives is so difficult or esoteric that it won’t be understood. When I’ve accomplished anything worthwhile, it’s often because I realized I’ve not had to please anyone but myself. This seems to me the exact opposite of the impulse that the agents and editors of the mega-conglomorate publishing-opoly would require of me. I would never be happy with my work being turned into, essentially, the equivalent of a ken doll. 

This points to the wonderful freedom of writing short fiction, where that dumbing down by others doesn’t usually apply. I think that the nature of short work gives a creative writer wide latitude because, if any publisher wants to consider it, they can read it in a sitting and grasp the whole of it quite readily. Editors are rarely going to come back to you with a ridiculous list of what you could do to your 500 or 1000 or even 3000 word story so that they will consider it. Rather, they take it or they do not. And when it comes to submitting a story, no explanation is required. No synopsis. No handy comparisons to similar works. Try getting a novel read like that. After submitting a short story, you might get a few editing suggestions, but they’re never on the level of fundamentally rewriting what you’ve already written. You’d never bother, if you are wise, and neither would they. Whereas with a novel, in the dumbing down logic, and with considerations by the marketing machine of a large publishing house, where they are literally banking on you, you would have dozens of lame opinions geared toward marketing. I take this information from the piece in Poets & Writers, “A Day in the Life of a Publishing House” (Vol. 42, Issue 5). Who hasn’t read one of these novels that’s been generated from some humble author’s work and found it to be exactly what it reads like: a mess, a neutered hodgepodge?

In other words, the first thing that happens if your novel has been anointed for publishing by the biggies is a disrespect of your work, which, if you want it to be published, you will accept. I can’t think of anything I’m more fundamentally and violently opposed to.

I will continue to read books put out by the industry heavyweights, only too aware how often the quality is off base. Like many readers, I’m a sucker for the hype. I usually need to read the hyped novel for myself to find out what’s so great about the next big thing. I came to Knausgaard early, purely out of curiosity and before there was any hype; now of course, the speculation runs rampant about this work and its quality. I found it eminently compelling, while I cannot say the same of Donna Tartt’s The Goldfinch. It was merely ok, even passable, but it’s hard not to feel like the hype is usually misplaced for so many name writers (add Murakami and Junot Diaz to the list). Much of what’s hyped in the mainstream feels steeped in a narrow mind-set and for me isn’t, in fact, strange enough.

As an avid reader, you know what you like and maybe even why, so invariably you take a chance on a hyped to death work, because you’ll never know unless you look into it. It’s easier to believe a lot of these established writers aren’t being guided by the editorial teams of their publishing houses, though the same probably can’t be said for the marketing department; you can be sure said author’s next work will be promoted as the “revolution of the novel” or whatever.

At least I can say, Impossible Lives is as pure a vision of its original intent as intended. I should not have to explain myself further.

Guerilla Marketing V 2.0

Almost without exception, everyone in publishing speaks of marketing and selling a book in terms that are, let’s be honest, anathema to most creative writers. The fact is, I doubt very much my fictional works are going to give you anything of value. I’ll go further and suggest that they are going to cost you time and maybe some small expenditure of money, and, in the worst extreme, if you despise the thing, I’ll have earned your wrath. You will only grow richer in terms of getting whatever value I might have imbued in the novel, however that is possible. I will go even further and say what most of the writers who attempt to heed sage marketing advice do not say, that my writing is basically a selfish endeavor. But I have always tried to write what I find interesting—and hope the reader also finds it worthwhile.

So it is that a writer pursues the dream, humbled by a bunch of publications under my belt, and almost always surprised when I can come up with something to say that I can put down with the ease and freedom I don’t take lightly, onto the web where possibly one or 1000 people might read it. At times I wonder, would Thoreau have had a blog? Tolstoy? Barthes? Most definitely. Ignoring the myriad technical questions such a thought implies.

Because of the ease and speed of the internet, the volume of written stuff must have grown exponentially each year in the last fifteen or so, to where I can now be reasonably assured that, because there are so many people attempting to put out their little darlings--which might be better off dying gentle suffocating deaths in file cabinets everywhere--that few, if any, will read mine. I have made some peace with it, possibly by having taken the matter into my own hands. Still, in the effort to drum up some old fashioned, even arcane technology for my own marketing campaign, I have produced a bookmark which I began distributing this past few weekends in a couple of bookstores in Los Angeles, and a bunch in the Bay Area. In L.A.: The Skylight Books staffer was kind enough to stick a stack on the gimme counter, among a variety of Xeroxed flyers and such—I’m relying on the appeal of the ubiquitous book mark presence—its utility, its necessity, its minor novelty. At Booksoup, I was told by the manager that “We have no room for them.” In most cases, booksellers were more than happy to allow me to leave a stack (which they may have left on the counter—though in some cases, I saw they were putting them in the gimme card section). Still, any visibility was good to me. Will this have any impact on the target audience for such a work of fiction as Impossible Lives of Basher Thomas? I’ll admit I have faith in my own ability to produce a graphically striking, hopefully iconic, book cover, because I couldn’t think of anything else, other than bombarding unsuspecting individuals in my e-mail address book and potentially wiping any good karma I might have established by resisting such “Ten things you must do to get your book sold,” tactics in the past. My method relies on a personal approach which I’m still not entirely at ease with, though I know I should be.

For anyone who wishes to purchase a copy of Impossible Lives of Basher Thomas, I am offering it at a discount of 25% ($12.64 after taxes and shipping). Just click on the buy button below the cover image at left. I will ship orders as soon as I receive them from the printer. Also, through Goodreads, I'm doing a giveaway campaign, also at the left.