What if fifteen years ago someone had suggested a nationwide network of gigantic bookshops, carrying about 150,000 titles each, staying open until 11:00 P.M. or midnight, and offering cafés, comfortable chairs, and public restrooms? And what if these sumptuous emporia were to be found not only in the great urban centers but also in small cities and suburbs all across the country—places like Plano, Texas; Knoxville, Tennessee; and Mesa, Arizona? Wouldn't we have thought that sounded like pure, if unattainable, heaven? Well, that is what the superstore chains—Barnes & Noble; Borders; and Books-A-Million, based in Birmingham, Alabama—have brought us. Why, then, the chorus of disapproval from the cultural elite? Why the characterization, spread by a vocal group of critics, of the chain bookstores as a sort of intellectual McDonald's, a symbol of the dumbing-down and standardization of American life?

Two—Make That Three—Cheers for the Chain Bookstores

... the male moviegoing constituency, who, more than anything else, like to think of themselves as hilarious ...

Breaking Through

A new Alice Munro story!

Free Radicals: Fiction: The New Yorker

This is a good list.

1. Find a place you trust and then try trusting it for a while.
2. General duties of a student: pull everything out of your teacher, pull everything out of your fellow students.
3. General duties of a teacher: pull everything out of your students.
4. Consider everything an experiment.
5. Be self-disciplined. This means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
6. Nothing is a mistake. There is no win and no fail. There is only make.
7. THE ONLY RULE IS WORK. If you work it will lead to something. It’s the people who do all of the work all the time who eventually catch on to things.
8. Don’t try to create and analyse at the same time. They’re different processes.
9. Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
10. “We’re breaking all of the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” - John Cage.

Helpful hints: Always be around. Come or go to everything always. Go to classes. Read anything you can get your hands on. Look at movies carefully often. Save everything, it might come in handy later.

From the archive:

Rumsfeld's Rules

Powell's Rules

Eleven Lessons from Robert McNamara

Benjamin Franklin's 13 Virtues

Creative thinking rules

What is this modern-day phenomenon that has spread like poison ivy through the ranks of novelists, historians, academics, scientists, students and almost anyone who uses and publishes words?

Plagiarism is a species of intellectual fraud that an author claims is original but has been copied from another source without permission or acknowledgment, thus deceiving and harming the reader.

I just committed plagiarism.

From the archive:

The Ecstasy of Influence, by Johnathan Lethem

A classic, or a fraud?

They're no less artful than full-length books, but they need less of your time. The perfect form for today's lifestyles

Can the novella save literature?

Storytelling lies at the heart of African culture — and now it’s digital.

This Is Nollywood tells the story of the Nigerian film industry—a revolution enabling Africans with few resources to tell African stories to African audiences. Despite all odds, Nigerian directors produce between 500 and 1,000 movies a year. The disks sell wildly all over the continent—Nollywood actors have become stars from Ghana to Zambia.

We experience the world of Nollywood through acclaimed director Bond Emeruwa's quest to make a feature-length action film in just nine days. Armed only with a digital camera, two lights, and about $20,000, Bond faces challenges unimaginable in Hollywood and Bollywood.

Electricity goes out. Street thugs demand extortion money. The lead actor doesn’t show. During one crucial scene, prayers blast from loudspeakers atop a nearby mosque, making shooting impossible. But, as Bond says, “In Nollywood we don’t count the walls. We learn how to climb them.”

In Nigeria’s teeming capital of Lagos, we attend an audition where hundreds of hopeful actors vie for their chance in the limelight. We meet some of the industry’s founding fathers who tell us of their responsibility to educate their massive audiences: many of the films deal with AIDS, corruption, women’s rights, and other topics of concern to ordinary Africans. The impetus behind Nollywood is not purely commercial; the traditional role of storytelling is still alive and well — just different.

This Is Nollywood shows how the egalitarian promise of digital technology has found realization in one of the world’s largest and poorest cities. And it shows the universal theme of people striving to fulfill their dreams.

“We are telling our own stories in our own way, our Nigerian way, African way,” Bond says. “I cannot tell the white man's story. I don't know what his story is all about. He tells me his story in his movies. I want him to see my stories too.”

This is Nollywood

Imagine that you're a composer. Imagine getting this commission: “Please write us a song that will allow family members to face the death of a loved one…” Well, composer David Lang had to do just that when a hospital in Garches, France, asked him to write music for their morgue, or "Salle Des Departs."

What do you do? What should death sound like?

Producer Jocelyn Gonzales brings us this piece about David Lang and his commission for the “Salle Des Departs.”

WNYC - Radiolab: Salle Des Departs (January 29, 2008)

Rarick concludes that the members of the Donner party were neither heroes for surviving nor scoundrels for the manner in which they did so. He writes: “They were Everyman. Often, adventure stories feature larger-than-life figures, grand Victorian explorers or indomitable generals or pith-helmeted naturalists resolutely seeking some wondrous discovery. ... Such quests have much to teach us, but so too does the drama of the mundane gone madly wrong.”

To my mind, the lesson of the Donner party is not so much about what they did or did not consume as it is about our appetite for such dramas.

See also, My dinner with antrophagus. (full text here)

The Archaeology of Hunger

Must See.

There may be no scarcer commodity in modern Hollywood than a distinctive and original film score. Most soundtracks lean so heavily on a few preprocessed musical devices—those synthetic swells of strings and cymbals, urging us to swoon in tandem with the cheerleader in love—that when a composer adopts a more personal language the effect is revelatory: an entire dimension of the film experience is liberated from cliché. So it is with Paul Thomas Anderson’s movie “There Will Be Blood,” which has an unearthly, beautiful score by the young English composer Jonny Greenwood. The early scenes show, in painstaking detail, a maverick oilman assembling a network of wells at the turn of the last century. Filmgoers who find themselves falling into a claustrophobic trance during these sequences may be inclined to credit the director, who, indeed, has forged some indelible images. But, as Orson Welles once said of Bernard Herrmann’s contribution to “Citizen Kane,” the music does fifty per cent of the work.

Welling Up