Mark the Spot

(For Booking Through Thursday)

Things I have used as a bookmark:

  • airplane boarding pass
  • receipt (for the purchase of the book)
  • credit card (used to purchase book)
  • business card
  • finger
  • pen
  • napkin
  • lollipop (still in cellophane)
  • candy cane (still in cellophane)
  • Post-It note
  • envelope
  • photograph
  • paperweight
  • USB drive
  • greeting card
  • clip-on name tag
  • paperclip
  • CD
  • another book
  • cell phone
  • post card
  • U.S. currency
  • Canadian currency
  • U.K. currency
  • concert ticket stub
  • refrigerator magnet
  • duct tape (folded in on itself)
  • magazine
  • electric bill

Can you spot what’s missing?


Booking Through Thursday

Do you read graphic novels/comics? Why do/don’t you enjoy them?  How would you describe the difference between “graphic novel” and “comic?” Is there a difference at all?  Say you have a friend who’s never encountered graphic novels. Recommend some titles you consider landmark/”canonical.”

I’ve actually blogged about this before, but it was a long time ago, so I’ll do it again.  I love comic books.  My favorites are the Justice League and Legion of Superheroes over at DC, and the X-Men and Spiderman over at Marvel.  I really like what Joss Whedon is doing with the continuation of Buffy the Vampire Slayer in comic book form, and I’m actually enjoying the continuation and expansion of the Star Wars saga into the far future with the “Legacy” series.

Here’s the tricky part, though.  I can’t actually read them.  I don’t know if there is a technical word for it, but when it comes to comic books, I have some kind of reading disorder.  For some reason, my brain can’t process the pictures and the words at the same time in order to follow the story.  When I open a comic book, I get overwhelmed by the images, and I end up just idly leafing through without reading any of the dialogue.

Webcomics are a different matter.  I suppose it’s because you can only read one “page” at a time on the screen, and I can process better without the distraction of the rest of the “book,” even if I have to reread it three or four times.  I’m currently following Gunnerkrigg Court, drawn and written by Brit Tom Siddell, who is an incredibly talented artist and a brilliant storyteller.  You should check it out.

Meanwhile, I’ll read Wikipedia’s summaries of the other comic books I like, so I’m not completely in the dark about what’s going on.  *Sigh.*  I tell you, it takes real talent to fail as a comic book geek.

Symbolic? Or Not?

Booking Through Thursday

It does seem like modern fiction just “tells the story” without much symbolism. Is symbolism an older literary device, like excessive description, that is not used much any more? Do you think there was as much symbolism as English teachers seemed to think? What are some examples of symbolism from your reading?

I’m of two minds about this question.  Sometimes, I think that the symbolism is there.  Sometimes I don’t.  Sometimes, too, I think symbolism is misused.  Back in high school, we had to read “The Turn of the Screw” by Henry James.  For those of you unfamiliar with the story, it’s about a young governess who moves to a creepy country house to care for two creepy children who starts seeing ghosts.  Is the house really haunted, or is she crazy?  When our teacher told us that her visions were a result of her sexual repression, we all started laughing because none of us saw it (the name of the story aside).  Then she started pointing out certain symbolic things about the…ahem…spiritual visitations, and it started to make sense.

That same year, we studied T.S. Eliot, and we read “The Waste Land” and “The Love Song of J. Alfred Prufrock.”  Both of these poems have passages that make absolutely no sense when read literally, so they must be symbolic, right?  From what I know about T.S. Eliot, though, I think he might have been jerking everyone’s chain.  I can see him sitting down at his typewriter, softly chuckling to himself about generations of English literature majors struggling and failing to find any meaning to his poems and ultimately having to go on anti-psychotic medication.

I think that in modern fiction, symbolism is used less effectively because not many people are familiar with symbolic language or symbolism in general anymore.  I think sometimes symbolism is misused.  For example, I like vampire fiction partly because vampires are the perfect symbol for the dark impulses, emotions, and desires in all of us.  They’re monsters that look just like us, and we can become them if we’re not careful.  So, I’m not a fan of the current “vampires are people, too” movement made popular by a certain author in a certain series of books.  Don’t get me wrong.  I’m all for taking symbols and subverting them to make a larger point.  Several writers have done just that with vampires rather successfully, using them to explore themes such as redemption and the ennui of modern life.  This author didn’t do that.  She broke the symbolism.

Her main vampire protagonist has all of the strengths of a vampire, but none of the weaknesses.  He has super strength and super speed.  He’s immortal.  And he’s really, really pretty.  He can go outside during the day without being burned to a crisp.  He can walk into a church.  He can walk into an Italian restaurant and order the garlic shrimp.  He can walk into your house without being invited first (all the better to stalk you while you sleep).  He can cross running water.  He doesn’t have an aversion to shiny things.  (Sometimes, he’s shiny, too!)  And best of all, he doesn’t make a habit of snacking on people.  So basically, he’s Superman with fangs, except, you know, he doesn’t have fangs either.

So while these books were a huge commercial success, they ultimately don’t work, because she’s taken away everything that makes vampires compelling or useful as a symbol for anything.  You could take the vampires out completely, and the story wouldn’t change much.  Even she seems to know on some level that it doesn’t work.  If you disagree, ask yourself, why, in a universe where being a vampire is so awesome that people should be lining up to take it in the jugular does it take four books for everyone to be okay with the main female protagonist becoming one?

Movie Potential

Booking Through Thursday

What book do you think should be made into a movie? And do you have any suggestions for the producers?

I have a list, actually.  I’m a very visual thinker, so I’m always thinking about how a particular scene might be filmed.  I do the same thing when I’m writing, too.  I find that it’s a really good trick when I’m stuck.  So here goes:

The No. 1 Ladies’ Detective Agency. I love these books.  They’re such fun to read.  Currently, there are nine in the series, with a tenth one coming out soon.  The author, Alexander McCall Smith, spent a lot of time in Botswana, where the books are set, and his descriptions of the landscape and the people are so rich an vivid that you can just see the sun setting over the Kalahari.  It’s almost as if Botswana were another character.  So I was very excited to hear that HBO and the BBC actually have made a limited series out of the books.  It starts airing in the U.S. on March 23.

The Historian. Obviously, I’m a sucker (no pun intended) for Gothic horror.  I had to actually stop reading The Historian after dark.  It creeped me out that much.  I would love Elizabeth Kostova‘s atmospherics to be transferred to the big screen.  Supposedly, the film rights to the book have been picked up, but as often happens, things are mired in development.

The Janissary Tree. Actually, any of Jason Goodwin‘s three detective novels, The Janissary Tree, The Snake Stone, and The Bellini Card would be fun movies.  Goodwin does not write traditional mysteries in that his setting is 19th-century Istanbul, and his detective Yashim is, well…a eunuch.  Goodwin is a historian of the Ottoman Empire, and he personally knows every square inch of Istanbul.  His books are packed with beautiful descriptions of the city, and again it’s almost as if the city itself were another character.  Also, none of the books lack for action as Yashim is alternately chased by and chases various suspects through the city.  The one problem is that the setting may be a little too exotic for Hollywood.

The Arabesk Trilogy. This series of novels, Pashazade, Effendi, and Felaheen, by British writer Jon Courtenay Grimwood, are set in an alternate history where the United States brokered an early end to World War I.  Set in a 21st century where the Ottoman Empire rules most of North Africa and France and Germany still have emperors, the novels center around genetically enhanced but mentally unstable Raf and his adventures in Alexandria, Egypt, known in the novels as El Iskandriyah.  Once more, its the descriptions of the setting that make these novels stand out.  The one issue, which could be a problem or an advantage, is that Grimwood is a little postmodern in his leanings, and much of the plot is told out-of-sequence.

Jonathan Strange and Mr Norrell. This book is just brilliant fantasy.  Susanna Clark‘s conception of how magic works is inherently visual.  Much of the magic in the book surrounds the use of mirrors, for example.  Also, I would love to see the tall-ships made out of rain used by the British to trick the French and blockade their ports during part of the Napoleonic Wars.  The problem here is the length of the book.  My edition is 782 pages long.  Again, here the film rights have been purchased by New Line Cinemas, but my advice is this: Under no circumstances should anyone who is not a loyal subject of Her Majesty the Queen be involved in this project. There is something so inherently British about the book that only a Brit could do it justice.

Are you listening, Hollywood?

The Sing-Along Post–If You Can

Booking Through Thursday

What songs … either specific songs, or songs in general by a specific group or writer … have words that you love? Why? And … do the tunes that go with the fantastic lyrics live up to them?

This is an interesting question for me, because I’m not really drawn to songs because of their lyrics.  What attracts me is the way they sound–the way the melody and the harmonies interact. For example, my favorite genre of music is Celtic.  I am all about the fiddles and bagpipes, but I especially like artists who take traditional melodies and do new things with them, such as Natalie MacMaster, Leahy, and Shooglenifty.  Of course, most of their music is instrumental, but when there are lyrics, they’re usually in some form of Gaelic. I still like them because of the way they sound. This is a video of a song called “Sleepy Maggie” by Canadian fiddler Ashley MacIsaac. The woman singing in Scottish Gaelic is Mary Jane Lamond.

I don’t know Scottish Gaelic, so I have no idea what she’s saying, but it sounds cool, doesn’t it? Half of the music I own with lyrics doesn’t have them in English. I have songs in every variety of Gaelic there is, in addition to Welsh, Swedish, German, Russian, Farsi, Urdu, Latin, and Zulu. Here’s another example, a song called “Allahi Allah,” from a group called Niyaz, which takes 14th-century Sufi poems in Farsi and Urdu and sets them to music using traditional Middle Eastern instruments remixed electronically. I think this one is in Urdu. Needless to say, my Urdu is a little rusty.

So I guess I regard the human voice as another musical instrument, albeit an extremely beautiful one with unmatched versatility.  I guess I also have oddball musical tastes.