2023 in media (1/3) — reading
Presented with apologies to my legions of fans who have been eagerly awaiting the return of those monthly posts I did four of.
Usually when I make these annual round-ups I try to be comprehensive, which I think is a mistake — no one wants to read a 200-strong list of everything I watched/read/etc this year[1] with a pithy comment attached and frankly I don't really want to write that either. So, instead, I’ve made these — partly a best-of, partly just a collection of the things I actually felt an urge to write about. I’ve mostly skipped — for obvious reasons — anything I’ve written more than a sentence about before (i.e. most things from March or April).
Books
I think reading targets are kind of stupid, especially when people end up reading ~200 a year (how do you remember any of them??), but I managed 17 this year for the first time since high school, and — without wanting to sound like one of those people who are really weird about reading — I feel like it was nourishing. Even the bad ones![2]
Cosmopolis by Don DeLillo
I didn't enjoy the experience of reading this very much but I have thought about some line or passage from it about once a month ever since. Perhaps because DeLillo knows we’re all doomed, and even though I agree I don’t necessarily love to be confronted by it. He’s so prescient, though — this book was released 20 years ago, 5 years before the financial crash, and it has this totally clear-eyed view of the way the internet interacts with the capitalist death drive and the men that combination produces.
Radical Chic & Mau-Mauing the Flak Catchers by Tom Wolfe
Maestro prep, maybe — can’t remember why exactly I picked this up, except that I saw it in a charity shop and I've been sort of tangentially fascinated by the New Journalism movement for about five years. Someday that tangential interest is going to turn into full-fledged obsession, but for now I’m just going to enjoy the parts of the work produced then that are on the lower end of the racism spectrum (Mau-Mauing is more towards the middle of that spectrum, probably). If we still had writers like this — people smart and cynical enough to skewer celebrities for their excesses and contradictions — the world would be quite different.
Dept of Speculation and Weather by Jenny Offill
Offill has this incredible ability to describe the men she (or the main character) loves in these perfect little paragraphs that make you understand everything about them and immediately fall in love with them too. One of our great chroniclers of marriage and parenthood, two things I would not have previously said I had much interest in reading about. “I learned you were fearless about the weather. You wanted to walk around the city, come rain come snow come sleet, recording things. I bought a warmer coat with many ingenious pockets. You put your hands in all of them.”
Bonjour Tristesse by Françoise Sagan
Fails in comparison to the perfect Mad Men episode it clearly inspired, but if I had written a novel at 18 it would have been the worst book ever produced, so who am I to talk!
Brave New World by Aldous Huxley
I'd been meaning to read this for at least a decade and then had the worst possible experience you can have when picking up a classic whose title or central concept has become emblematic of something — that the distilled idea turns out to be far more compelling than the work it originally came from. Although, if we’re to believe Mr Orwell, maybe the idea here actually came from Yevgeny Zamyatin. Anyway! I’d love to read something gossipy and outlandish about Huxley’s sexual proclivities and perhaps his feelings about his mother.[3]
The Gathering by Anne Enright
Anne Enright is one of the world’s finest essayists, and The Genesis of Blame is without a doubt the best thing I read all year. This is the first fiction I've read from her, though, and I was struck particularly — apart from the dawning, sickening horror — with the cinematic (or even stage-y) way she engages with human beings in physical space. Maybe this is an odd comment to make about a novel, but — as a person with a very limited visual imagination — I loved that I always knew where characters’ eyelines were, the size of the room, where the exit was. I have an almost totally spatial memory — I could describe a house I've been to once, but probably not my best friend’s face — and there's a bodily awareness here that I find so effective, especially when it turns almost impressionistic in the climatic scene.
Neuromancer, Count Zero, and Mona Lisa Overdrive by William Gibson
Gibsonpilled!!!! I think I finally got around to picking up Neuromancer after years of having it on my reading list in part because of the quote-unquote AI threat and in part because I re-listened to Night Call, a perfect podcast (RIP) on which Gibson is frequently invoked. There's something about his 1960s counter-cultural roots in combination with a clear vision of what the technological advancements of the 1980s would turn into that produces work that’s so empathetic, so cool, dripping in modernity while being a little embarrassed by it. He reminds me of Michael Mann, a little — two men with romance in their hearts who understand that technology always brings death along with it.
The Quiet American and Our Man in Havana by Graham Greene
It's funny that Greene’s characters so frequently express a feeling of statelessness when he himself could not be more British if he tried. I've been thinking a bit about 20th century Englishmen recently, brought on by seeing Ill Met by Moonlight and being reminded of my father and his father almost the entire time. Something about the confidence that comes from having hundreds of years of empire behind you (even if you’re repulsed by that empire’s existence) — the ability to feel at home anywhere, as long as you have a pint or a whisky in hand.
Franny and Zooey by J D Salinger
If you smoked along with this book you'd be dead in two hours. Sisters with The Gathering in many ways, which pleased me — big Irish families, struck by tragedy; strangers to each other even though at core they're the same. There's no looming family secret in this one, though, and existential dread pervades in place of real buried horror. This is the definition of a book one should read quickly — keeping pace with all that rapid dialogue and all those cigarettes — and then savour in retrospect for weeks afterwards. Made me want to be more of an esoteric nightmare and less of a judgmental bitch, which would probably end up as an overall improvement.
Articles
- From Strength Comes Forth Sweetness: "Top Gun: Maverick" and Tom Cruise's Terribilità, David Garry Hughes, Mubi Notebook
- the one horse & the nextover, Anne Boyer
- By the Bomb’s Filmic Light, Nicholas Russell, The Baffler
- The Internet is Broken. Can We Fix It? – A Review of Ben Tarnoff’s “Internet for the People”, Z.M.L
- The Dirt on Pig-Pen, Elif Batuman, Astra
- It isn’t the lines, Bee Wilson, London Review of Books
- Off His Royal Tits, Andrew O’Hagan, London Review of Books
- Maybe So, Sir, but Not Today: The Fragile Humanity of Top Gun: Maverick, Tom Ralston, Bright Wall/Dark Room
- Puzzled Puss, John Lahr, London Review of Books
- Harrison Ford: “I Know Who the F*** I Am”, James Hibberd, The Hollywood Reporter
- The Last of Us Is Not a Video-Game Adaptation, Andrea Long Chu, Vulture
- Fifty Years On, A Hard Day’s Night Is Still Revelatory, Stephanie Zacharek, Village Voice
- ChatGPT Is a Blurry JPEG of the Web, Ted Chiang, The New Yorker
- What advertising does to TV., Emily Nussbaum, The New Yorker
- Boxcar Love: Scarecrow’s Not-So-Modern Bromance, Duncan Birmingham, Bright Wall/Dark Room
- Riding the Goddamn Elephant, A. S. Hamrah, The Baffler
- Silver Screen, Carlos Valladares, n+1
- Not Much like Consent, Daniel Trilling, London Review of Books
- Stronger Together, Shonni Enelow, Film Comment
- everything I've watched in however long it's been since the last one of these, part one, Helena Fitzgerald
- To Let an Author Die: Remembering Sylvia Plath, 60 Years On, Jimin Kang, Los Angeles Review of Books
- The Golden Suicides, Nancy Jo Sales, Vanity Fair
- I Really Didn’t Want to Go, Lauren Oyler, Harper’s Magazine
- You Have a New Memory, Merritt Tierce, Slate
- The Crown and the Crown, Luke McKernan
- Norman Mailer’s Ripe Garbage, Rob Madole, The Baffler
- An almost perfect film, Luke McKernan
- Voice and Hammer, Jeff Sharlet, VQR
- #148: Too much music, Hayley Nahman & Always In, Drew Austin, Real Life
- I have drunk of the wine of life at last, Edith Wharton, Diaries of Note
- The Genesis of Blame, Anne Enright, London Review of Books
- When digital nomads come to town, Stephen Witt, Rest of World
- Grieving Redness in the West: Reading Malcolm Harris After Mike Davis, Michael Docherty, Los Angeles Review of Books
- Saturday Night as an Adult, Anne Carson, The New Yorker
- Trespassing on Edith Wharton, Alissa Bennet, The Paris Review
- Elegy for the Screenshot, Nora DeLighter, Screen Slate
- The Shut-In Economy, Lauren Smiley
- The Last TV Show, Helena Fitzgerald
- ‘Suddenly, we were in Wonderland’: Paul McCartney on his lost photos of Beatlemania, The Guardian
- The End of Love, Merritt Tierce, The Paris Review
- Stupidity as a critical virtue, BDM
- Antigone in Galway, Anne Enright, London Review of Books
- The man who missed his life, Michael Wood, London Review of Books
- all the television I have watched in the last however long it's been: taskmaster, series twelve, Helena Fitzgerald
- Everything I've Binge-Watched in the Last However Long, Part One of Two, Helena Fitzgerald
- Julian Sands had the heart of a child-man in which scorpions and bluebirds nested, Gabriel Byrne, The Guardian
- Last day of shoot, Emma Thompson, Diaries of Note
- “The Splendor of Our Public and Common Life”, Garrett Dash Nelson, Places
- Focus, Shoot, Conceal, Jeremy Harding, London Review of Books
- “It just get dirtier!”, Christian Lorentzen, Metrograph
- The Cloud Is a Prison. Can the Local-First Software Movement Set Us Free?, Gregory Barber, Wired
- Selling the Seaside, Ruby Tandoh, The Baffler
- The Best Little Magazine in Texas, Karen Olsson, The Baffler
- Get Thee to a Phalanstery, Dominic Pettman, The Public Domain Review
- ‘It was like Blade Runner meets Berlin rave’: the Manchester sink estate with the UK’s wildest nightclub, Daniel Dylan Wray, The Guardian
- We’re More Ghosts Than People, Hanif Abdurraquib, The Paris Review
- The Machine Breaker, Christopher Ketcham, Harper’s Magazine
- Loretta, Philippa Snow, AnOther
- Nashville, Matthew Eng, Reverse Shot
- Real Play, Devon Brody, The Paris Review
- ‘A mass assassination factory’: Inside Israel’s calculated bombing of Gaza, Yuval Abraham, +972 Magazine
- What We Learn from the Lives of Critics, Parul Sehgal, The New Yorker
Actually, I absolutely love Soderbergh’s annual lists, and since I’m logging everything this year in my journal, maybe I will do a full day-by-day list next year. But only as supplementary material to something a little more in-depth. ↩︎
I’m looking at you, Tomorrow and Tomorrow and Tomorrow. ↩︎
I think he probably had “good politics”, whatever that means, but I think he had good politics for the same reasons as many men on the left, i.e. mostly as a way to meet women. I have no basis for this other than a pervasive vibe. ↩︎
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