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"content": "\u003cp>The editors of \u003ca href=\"http://www.opiummagazine.com/\" target=\"offsite\" rel=\"noopener\">Opium Magazine\u003c/a> created \u003cb>Literary Death Match\u003c/b> as an antidote to the stultifying atmosphere that afflicts many literary readings. Opium’s Todd Zuniga loved going to readings, but was bored stiff. “The worst reader always goes way long,” he says, “and someone always reads in that abhorrent ‘poet voice.'” In \u003cb>Literary Death Match\u003c/b>, four readers compete with snappy stories, which are wryly critiqued by a panel of judges for the amusement of an audience that tipples, chuckles, and occasionally heckles. The next edition takes place on Wednesday, March 12, 2008, and features contestants from independent presses Manic D, Soft Skull, Heyday and MacAdam/Cage.\u003c/p>\n\u003cp>Each event lasts three rounds — two one-on-one initial bouts and then a run-off pitting the winners of the first two contests against each other. Readers generally keep it lively with funny fare and the judges follow suit. The breaks between bouts further encourage a jovial (read: tipsy) atmosphere. It’s not just booze and friendly competition that distinguishes \u003cb>LDM\u003c/b>. While many literary readings thrive on overly-earnest questions and polite clapping, each edition of \u003cb>Literary Death Match\u003c/b> really strives to entertain. As Zuniga put it, it’s meant to be an event for “the masses, not just people trying to get published.”\u003c/p>\n\u003cp>The February 2008 showdown lived up to much of its premise. Kurt Bodden (of \u003ca href=\"http://www.talkshowsf.com/\" target=\"offsite\" rel=\"noopener\">Talk Show Live\u003c/a>) MC’d the proceedings. Alana Connor of the \u003ca href=\"http://www.ssireview.org/\" target=\"offsite\" rel=\"noopener\">Stanford Social Innovation Review\u003c/a> evaluated “intangibles,” literary agent Ted Weinstein reigned over “content,” \u003ca href=\"http://www.doublefine.com/\" target=\"offsite\" rel=\"noopener\">Double Fine\u003c/a>‘s Scott Campbell rounded up the judging panel by offering deadpan tips on “performance.”\u003c/p>\n\u003cp>The first round was a bit of a surprise, as \u003ca href=\"http://14hills.net/\" target=\"offsite\" rel=\"noopener\">Fourteen Hills\u003c/a>‘s Marianna Cherry and \u003ca href=\"http://www.parthenonwestreview.com/\" target=\"offsite\" rel=\"noopener\">Parthenon West Review\u003c/a>‘s Barbara Jane Reyes both read rather serious pieces — a short story about a kidnapping by FARC guerillas, and poetry on cultural/sexual imperialism and Filipina identity, respectively. Both pieces were gripping in their own right, but they appeared to wrong-foot the judges’ expectations of lighter fare. Nevertheless, they gamely weighed in. Alana Connor noted that Reyes’ poetry “was some heavy ass shit” and that it “had more blowjobs in it than [her] 16th birthday party.” Scott Campbell signaled his appreciation for Cherry’s sartorial choices: “You wore leather gloves.. and then took them off. I liked that.” Ultimately, the judges handed Reyes the ticket to the final round.\u003c/p>\n\u003cp>The second bout was more standard \u003cb>Death Match\u003c/b> fare. Tony Dushane of \u003ca href=\"http://cherrybleeds.com/\" target=\"offsite\" rel=\"noopener\">Cherry Bleeds\u003c/a> read a truly alarming and hilarious “pre-natal memoir” about his own conception from the point of view of one of his father’s sperm. Much giggling and squirming ensued. Suzanne Kleid of \u003ca href=\"http://www.othermag.org/\" target=\"offsite\" rel=\"noopener\">Other Magazine\u003c/a> chose to read a hilarious story about a non-starting relationship, but Dushane ended up with the win. The final showdown was decided by improvised six-word memoirs. Dushane opened with “Masturbation saved my sex life forever.” “Some people say I eat dog,” countered Reyes. The applause was a touch louder for Dushane, so he was declared the winner and presented with a lovely (Burger King?) crown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Literary Death Match\u003c/b> takes place roughly once a month. The next match, hosted by Kurt Bodden features Jon Longhi (Manic D Press), Daphne Gottlieb (Soft Skull Press), Andrew Lam (Heyday) and the best MacAdam/Cage has to offer, is Wednesday, March 12, 2008, 7pm at the Rickshaw Stop, 155 Fell Street in San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>There is a sub-genre of memoir that I never really get tired of. And judging by the publishing trends of the last decade or so, I must not be alone. It’s not the addiction autobiography — those get repetitive and boring. It’s the “my childhood with crazy parents” narrative that gets me every time. NPR reporter Jacki Lyden’s \u003cb>Daughter Of The Queen Of Sheba\u003c/b> was probably the first that I read. Clane Hayward’s \u003cb>The Hypocrisy of Disco\u003c/b>, previously reviewed, is still one of my favorite books from the past year. \u003cb>Criminal Of Poverty\u003c/b> by Lisa “Tiny” Gray-Garcia focuses less on her mother’s mental illness and more on the prison-industrial complex that kept them in a never-ending downward spiral with no one to turn to for help. I haven’t yet read Virginia Holman’s \u003cb>Rescuing Patty Hearst: Memories From a Decade Gone Mad\u003c/b> or Jeannette Walls’s \u003cb>The Glass Castle\u003c/b>, but I’m sure I’d devour those in one sitting, too. Each family is, like Tolstoy’s dictum, unhappy in its own way. Even if your family was normal, you can find something to pull you in. Just like the way a kid from the 20th century suburbs could read a fairy tale like \u003cb>Rapunzel\u003c/b> and kind of wish she was an orphan imprisoned in a tower by a witch.\u003c/p>\n\u003cp>Laura Flynn, author of \u003cb>Swallow The Ocean\u003c/b>, was obsessed with the Rapunzel legend for a different reason. For several years, Laura and her sisters were virtual hostages to their mother’s schizophrenia. They would braid together their dolls’ hair and concoct escape fantasies, hoping for their own rescue.\u003c/p>\n\u003cp>Flynn is a native San Franciscan. Born the summer before the Summer Of Love, she’s a near-exact contemporary of \u003cb>Hypocrisy of Disco\u003c/b> author Clane Hayward. But aside from a San Francisco birth, and complicated parental relationships, the similarities end there. Flynn’s childhood in the fog-encapsulated Richmond district was a universe away from the goings-on over in the Haight. Flynn paints a vivid portrait of her block’s most feared kids, the nine Mulligan brothers, “an endless horde of Patricks, Eddies, and Bobs in toughskin jeans and beefy tees.” Laura and her sisters get “drafted” by the Mulligans into a war against the Kittredge family. The Kittredge kids, dirty, lost, and motherless, are “hippies” worthy of scorn. You get a sense that “hippie” was the worst slur an Irish-American Richmond District kid of 1972 could think of.\u003c/p>\n\u003cp>As the years went on, Laura, Sara, and Amy Flynn came to have more in common with the shunned and lonely Kittredges than they could have ever guessed. Their mother, Sally, developed a particularly 1970’s brand of madness. Her delusions and paranoias involved Edgar Cayce, the Del Monte corporation, Richard Nixon, Jesus, Buddha, and her “special partner” in the fight against evil, John F. Kennedy. In one heartbreaking passage, Sally explains that she watches the Lawrence Welk show with her eyes fixed on one little girl in the chorus who resembles Laura. The more people from the “good side” have their eyes on the ersatz Laura, the better chance that the real Laura will escape the devils who control the world and the weather. Somewhere under the madness is an expression of real love.\u003c/p>\n\u003cp>\u003cb>Rescuing Patty Hearst\u003c/b> author Virginia Holman spent three years kidnapped by her mother, sequestered in a vacation cabin with blackened windows, fighting a “secret war.” For her own survival, Holman decided to believe that the secret war was real. Sally Flynn, in contrast, didn’t actively pull her children into her delusional world in that way — instead, she pushed them out. Laura Flynn often describes her mother as absent, or behind a closed door. When necessary, she could usually summon up the sanity to keep social workers and nosy neighbors at bay. The kids kept attending school and visiting their father on weekends. Amazingly, Sally Flynn even continued to more or less successfully manage the apartment building they owned and lived in. Meanwhile, old newspapers piled up inside, in stacks along the walls, two and three feet high.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flynn writes with an adult’s lifetime of distance and hindsight, like a journalist. When different family members have conflicting memories of the same incident, she notes the discrepancies. (Did Sally really cover herself in tinfoil armor before she went to sleep? Laura says yes, but her sisters have no memory of this.) Flynn, and the audience, are kept at a bit of a distance from what went on. As a narrative strategy it’s less immediate, and less risky, than Clane Hayward’s present-tense child’s eye view in \u003cb>Hypocrisy of Disco\u003c/b>. Laura Flynn has her reasons for this, I imagine. Late in the book she describes years in which she was terrified of following her mother down the rabbit hole. Hyper-vigilant for signs of a crack-up, she once mistook glow-in-the-dark wall paint as the hallucination she always feared would come. As a writer, Flynn’s instinct for self-preservation prevents her from being able to fully render, in three dimensions, the inner workings of her mother’s psychosis. She peers over the edge but never jumps in — as a daughter and a survivor, you can’t blame her for that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Laura’s father, Russell, emerges as the true hero of \u003cb>Swallow the Ocean\u003c/b>. Laura makes it clear that Russell loved Sally very much, and if the disease hadn’t stolen her away, he probably never would have left. In the end, rescuing three little girls from Sally Flynn’s mental illness required a phalanx of lawyers, judges, social workers, and psychiatrists, took half a decade, and left a dozen or more destroyed lives in its wake. If you’ve ever had to confront a loved one’s schizophrenia, the calm voice of Laura Flynn will be a welcome friend. Even now, schizophrenic people and their families are failed utterly by the courts and by social services. As Flynn makes clear, this is the real tragedy.\u003c/p>\n\n",
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"content": "\u003cp>In the current issue of the \u003ci>Believer\u003c/i> magazine, there’s an essay called “The Chaos Machine,” co-written by author Charles Baxter and his son Daniel. The elder Baxter narrates a story about picking his son up from college and the car trip that followed. Daniel provides footnotes to his dad’s reportage, adding refutations, clarifications, corrections. In the center of this sweet and normal-sounding story is a very strange little anecdote. At birth, Daniel Baxter was named Nathaniel. During a turbulent toddlerhood, as soon as the boy was capable of articulating a preference, he began insisting that he was not Nathaniel. He wanted to be called Daniel instead. Refreshingly, his parents took his request seriously. At age four, his name was legally changed. Nathaniel became Daniel and has remained so ever since. In his footnote, Daniel Baxter grumbles a little bit. “I’m not in a rush to let people know about the name switch, but I suppose this essay would be incomplete if this were omitted.”\u003c/p>\n\u003cp>Charles Baxter’s new novel, \u003cb>The Soul Thief\u003c/b>, is about identity and loss of it, about taking on new lives and jettisoning old ones (or trying to.) It’s not a coincidence, then, when you hear the name that the book’s narrator chooses for himself. “I must turn myself into a ‘he’ and give myself a bland Anglo-Saxon Protestant name,” says the novel’s opening chapter. “Here it is: ‘Nathaniel.’ So that is who I am: Nathaniel Mason. He once said that the name Nathaniel was cursed, and that my imagination had been poisoned at its source by what people had called me.”\u003c/p>\n\u003cp>The “he” (we presume) is Jerome Coolberg, Nathaniel’s college classmate, a charming, bullshitting, insufferable know-it-all who Nathaniel comes to blame for the collapse of his own life. This is Buffalo, New York, the 1970s, mid-winter. It’s difficult to conceive of a bleaker time and place. The first time Nathaniel runs across Coolberg, he is holding court at a party, enthralling the guests with his speechifying. A friend warns Nathaniel to keep his distance. “He’s in some kind of Artaudian condition where all the ideas are unoriginated and unsourced; that’s how he can claim anybody else’s ideas as his own. Really all he wants to do is acquire everyone’s inner life. I’d use the word ‘soul’ but I don’t believe in souls.”\u003c/p>\n\u003cp>For the first couple conversations, I wondered whether the diction wasn’t a little high-flown for a bunch of Buffalonians in their twenties. But it works. It works because the characters are deadly serious grad students, playing intellectual. They talk that way self-consciously, purposely trying to impress each other and convince themselves that they contain something other than hot air. Nathaniel just sees Coolberg as an annoyance at first, not a danger, despite the warning. He meets a girl named Theresa, flirts heavily, does his best to seduce her and eventually does, with her enthusiastic help. Nathaniel also cooks for the poor at a soup kitchen alongside Jamie, a tough, blond, purported lesbian who he finds deeply erotic.\u003c/p>\n\u003cp>Coolberg keeps reappearing. Unsettling events continue to take place. Nathaniel catches a burglar rummaging through his meager belongings. He only steals some clothing, which Coolberg is later seen wearing. Coolberg appropriates parts of Nathaniel’s life story as well, taking his past and passing it off as his own. How did Coolberg learn all of this, anyway? Eventually, perhaps inevitably, Coolberg steals Nathaniel’s girl, too. Nathaniel falls further and further down the rabbit hole, unable to get a grip on reality. Then, in the second half, the book fast-forwards several decades in time. Nathaniel, now a married father, gets a call from his old college buddy, Jerome begins to spill out. At this point, the reader starts to realize that everything that’s been said so far might not be the truth. In fact, we may not even know who’s actually telling the story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I got to the end of \u003cb>The Soul Thief\u003c/b>, I wanted to immediately go back to page one and read it a second time, to see if I could figure out what the hell just happened to me. The only other book that’s had that kind of effect (in a GOOD way) is Paul Auster’s \u003cb>New York Trilogy\u003c/b>. Charles Baxter (as I’ve \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=19260\" target=\"offsite\" rel=\"noopener\">noted before\u003c/a>) is one of those writers who is not a household name, but who has a towering reputation in the world of writers, because he can do things that don’t seem possible. \u003cb>The Soul Thief\u003c/b> could be called metafiction, or postmodern, because of the way it messes with the reader’s head. It raises questions of authorship. It uses \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=16605\" target=\"offsite\" rel=\"noopener\">unsourced, appropriated dialogue\u003c/a> from other books and movies. It ends in the same place it starts, like a snake eating its own tail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Soul Thief\u003c/b> pulls you out of the “world” of the story and draws attention to the way the story is being told. If it wasn’t Charles Baxter doing this, it could be showy, or annoying. I think that some writers, especially young ones, rely on po-mo trickery to distract from the lack of a plot or strong characters. Thankfully, Baxter knows it’s not enough to just play with the conventions of narrative if you can’t write a heart-stoppingly good STORY in the first place. And he can. \u003cb>The Soul Thief\u003c/b> is heart-stoppingly good, by any measure.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the current issue of the \u003ci>Believer\u003c/i> magazine, there’s an essay called “The Chaos Machine,” co-written by author Charles Baxter and his son Daniel. The elder Baxter narrates a story about picking his son up from college and the car trip that followed. Daniel provides footnotes to his dad’s reportage, adding refutations, clarifications, corrections. In the center of this sweet and normal-sounding story is a very strange little anecdote. At birth, Daniel Baxter was named Nathaniel. During a turbulent toddlerhood, as soon as the boy was capable of articulating a preference, he began insisting that he was not Nathaniel. He wanted to be called Daniel instead. Refreshingly, his parents took his request seriously. At age four, his name was legally changed. Nathaniel became Daniel and has remained so ever since. In his footnote, Daniel Baxter grumbles a little bit. “I’m not in a rush to let people know about the name switch, but I suppose this essay would be incomplete if this were omitted.”\u003c/p>\n\u003cp>Charles Baxter’s new novel, \u003cb>The Soul Thief\u003c/b>, is about identity and loss of it, about taking on new lives and jettisoning old ones (or trying to.) It’s not a coincidence, then, when you hear the name that the book’s narrator chooses for himself. “I must turn myself into a ‘he’ and give myself a bland Anglo-Saxon Protestant name,” says the novel’s opening chapter. “Here it is: ‘Nathaniel.’ So that is who I am: Nathaniel Mason. He once said that the name Nathaniel was cursed, and that my imagination had been poisoned at its source by what people had called me.”\u003c/p>\n\u003cp>The “he” (we presume) is Jerome Coolberg, Nathaniel’s college classmate, a charming, bullshitting, insufferable know-it-all who Nathaniel comes to blame for the collapse of his own life. This is Buffalo, New York, the 1970s, mid-winter. It’s difficult to conceive of a bleaker time and place. The first time Nathaniel runs across Coolberg, he is holding court at a party, enthralling the guests with his speechifying. A friend warns Nathaniel to keep his distance. “He’s in some kind of Artaudian condition where all the ideas are unoriginated and unsourced; that’s how he can claim anybody else’s ideas as his own. Really all he wants to do is acquire everyone’s inner life. I’d use the word ‘soul’ but I don’t believe in souls.”\u003c/p>\n\u003cp>For the first couple conversations, I wondered whether the diction wasn’t a little high-flown for a bunch of Buffalonians in their twenties. But it works. It works because the characters are deadly serious grad students, playing intellectual. They talk that way self-consciously, purposely trying to impress each other and convince themselves that they contain something other than hot air. Nathaniel just sees Coolberg as an annoyance at first, not a danger, despite the warning. He meets a girl named Theresa, flirts heavily, does his best to seduce her and eventually does, with her enthusiastic help. Nathaniel also cooks for the poor at a soup kitchen alongside Jamie, a tough, blond, purported lesbian who he finds deeply erotic.\u003c/p>\n\u003cp>Coolberg keeps reappearing. Unsettling events continue to take place. Nathaniel catches a burglar rummaging through his meager belongings. He only steals some clothing, which Coolberg is later seen wearing. Coolberg appropriates parts of Nathaniel’s life story as well, taking his past and passing it off as his own. How did Coolberg learn all of this, anyway? Eventually, perhaps inevitably, Coolberg steals Nathaniel’s girl, too. Nathaniel falls further and further down the rabbit hole, unable to get a grip on reality. Then, in the second half, the book fast-forwards several decades in time. Nathaniel, now a married father, gets a call from his old college buddy, Jerome begins to spill out. At this point, the reader starts to realize that everything that’s been said so far might not be the truth. In fact, we may not even know who’s actually telling the story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I got to the end of \u003cb>The Soul Thief\u003c/b>, I wanted to immediately go back to page one and read it a second time, to see if I could figure out what the hell just happened to me. The only other book that’s had that kind of effect (in a GOOD way) is Paul Auster’s \u003cb>New York Trilogy\u003c/b>. Charles Baxter (as I’ve \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=19260\" target=\"offsite\" rel=\"noopener\">noted before\u003c/a>) is one of those writers who is not a household name, but who has a towering reputation in the world of writers, because he can do things that don’t seem possible. \u003cb>The Soul Thief\u003c/b> could be called metafiction, or postmodern, because of the way it messes with the reader’s head. It raises questions of authorship. It uses \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=16605\" target=\"offsite\" rel=\"noopener\">unsourced, appropriated dialogue\u003c/a> from other books and movies. It ends in the same place it starts, like a snake eating its own tail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Soul Thief\u003c/b> pulls you out of the “world” of the story and draws attention to the way the story is being told. If it wasn’t Charles Baxter doing this, it could be showy, or annoying. I think that some writers, especially young ones, rely on po-mo trickery to distract from the lack of a plot or strong characters. Thankfully, Baxter knows it’s not enough to just play with the conventions of narrative if you can’t write a heart-stoppingly good STORY in the first place. And he can. \u003cb>The Soul Thief\u003c/b> is heart-stoppingly good, by any measure.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If it’s wrong to judge a book by its cover, then it must be downright sinful to covet covers alone. If so, you may be in for some major penance if you haven’t yet been introduced to Melville House’s \u003cb>Art of the Novella\u003c/b> series. The series reprints more than a dozen classic novellas in a trim format with simple, gorgeous covers. Their design is minimal — just the title and the author’s name are set against a field of solid, eye-popping Pantone color.\u003c/p>\n\u003cp>The series includes shorter works from some very famous names — everyone from Maupassant and Dostoevsky to Twain and Turgenev. (The roster is a bit light on female authors, who are represented by Edith Wharton and George Eliot.) Each one of the crayon-colored titles is a satisfying marriage of storytelling and eye-candy. The covers recall the playful, modern designs that were splashed across those old Penguin and \u003ca href=\"http://www.aisleone.net/?p=319\" target=\"offsite\" rel=\"noopener\">Pelican paperbacks\u003c/a>. And like those old paperbacks, they are inviting — much like the novella format itself.\u003c/p>\n\u003cp>Melville House created the series to celebrate the novella form, one of those genres that has ended up “in between” by unhappy historical accident. But if you’ve ever been daunted by the page counts of \u003cb>Moby Dick\u003c/b> or \u003cb>The Portrait of a Lady\u003c/b>, these smart editions of \u003cb>Bartleby the Scrivener\u003c/b> and \u003cb>The Lesson of the Master\u003c/b> could be a lower-commitment introduction.\u003c/p>\n\u003cp>Melville House itself is an independent press and a bookshop based in Brooklyn. It was founded by the poet and sculptor Valerie Merians and the writer Dennis Loy Johnson (who ran the venerable and now defunct lit blog \u003ca href=\"http://www.mobylives.com/\" target=\"offsite\" rel=\"noopener\">MobyLives\u003c/a>). Their eclectic output runs the gamut: articles of impeachment for Bush, a gorgeous cookbook, Jacques Derrida’s final interview, and envelope-pushing fiction from Tao Lin. While not new news, the \u003cb>Art of the Novella\u003c/b> series has been expanding at a steady trickle since it was launched in 2004.\u003c/p>\n\u003cp>The best thing about these novellas is that you have commanding reason to buy them, even though they’re reasonably priced at just $9 a pop. Thing is, you can find nearly all of these public domain stories for free online — but you’d get them as chunky pdfs or sprawling text files. If you had a \u003ca href=\"http://www.amazon.com/gp/product/B000FI73MA/\" target=\"offsite\" rel=\"noopener\">Kindle\u003c/a>, you could get a copy of many of them for as little as 99 cents. But in a sense, the \u003cb>Art of the Novella\u003c/b> series is sort of an anti-Kindle. What these singular, distinctive titles celebrate is book-ness. They’re slim enough to be portable but showy enough to be conspicuously consumed — tiny little objects that demand to be loved for the commodities they are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Nikola Tesla is best remembered for inventing engines that produced alternating current (AC) electricity. AC, developed by Tesla and sold by his partner George Westinghouse, was a superior alternative to Thomas Edison’s direct current (DC). Edison, fearful that the comptetition would drive him out of business, staged a number of grisly experiments to “prove” that AC current was too dangerous for everyday use. Dogs, cats, horses, and eventually, heartbreakingly, a condemned rogue elephant named Topsy were all forced to stand on an electrified plate and “Westinghoused” to death. The sadistic PR campaign couldn’t stop a better technology, however, and eventually AC current became the standard. \u003c/p>\n\u003cp>Tesla was also the first person to produce artifical lightning, and invented wireless radio. But like many briliiant scientists, Tesla was no business man. Without patents for his inventions, the financial spoils went to other, better-known people. (Every time a children’s textbook refers to Edison and Marconi as the “inventors” of electricity and radio, Tesla must do another rotation in the grave.) Poor, dismissed as a crank, and mostly forgotten, Tesla lived out his final days as a long-term guest in Manhattan’s swank New Yorker Hotel, caring for Central Park pigeons, and working on plans for many more strange and shocking inventions. Upon his death, those plans were confiscated by the US government, declared classified, and then “lost.” Among his never-finished ideas was a means for harvesting the “free energy” given off by every living thing, which he hoped would provide a never ending, clean source of electric power. That, and a “death ray” that could destroy the universe. As you might imagine, those lost documents have been conspiracy theory fodder ever since. Who could make this stuff up?\u003c/p>\n\u003cp>Tesla’s name has graced a late ’90s hair metal band, and a high speed electric car. Lightning-producing Tesla coils have become a necessary staple in any film that features a mad scientist. David Bowie even played him in the movie \u003cb>The Prestige\u003c/b>. But who was he really?\u003c/p>\n\u003cp>Of all the authors I admire, if I had to guess which one of them was going to write a fictionalized account of Nikola Tesla’s life, Samatha Hunt would not have been at the top of that list. Her first novel, \u003cb>The Seas\u003c/b>, was a strange and beautiful monologue by a troubled young girl in a remote, unnamed seaside town. She is convinced that she is a mermaid. In one scene, she believes that King Neptune has washed up on the beach and is talking to her. Beautifully written tragedy ensues. Sad and poetic and incredibly strange, that book made me feel like I’d been pummeled by a particularly cold and strong wave.\u003c/p>\n\u003cp>\u003cb>The Seas\u003c/b> took place in a world that didn’t need to be limited by the laws of physics or the constraints of actual history. \u003cb>The Invention of Everything Else\u003c/b>, Hunt’s second book, required extensive research. All the most fascinating and bizarre tidbits in the book are invariably the ones that are based in fact. Tesla dreamed of building a stationary ring around the earth, to be used for ultra-fast world travel. A woman published a book during Tesla’s lifetime advancing a theory that he actually came from the planet Venus. In contrast, the purely fictional elements of the book seem, at times, too studied and too wooden, as though the effort of having to hew to reality was bogging down Hunt’s prodigious imagination. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tesla is, unfortunately, a relatively minor character in the book. Much of the action centers on Louisa, a chambermaid at the New Yorker Hotel. She is fascinated by strange old Mr. Tesla whose bill goes long unpaid and who never allows anyone to enter his room. Louisa’s mother died in childbirth, her father still mourns. Her father’s best friend Azor reappears after a several-year gap and reveals that he’s been in Far Rockaway, building a time machine. Meanwhile, a handsome young man introduces himself to Louisa on the subway. He insists that they went to school together, but she doesn’t remember him. He seems to know so much about her. Where did he come from? \u003c/p>\n\u003cp>Louisa reads from Tesla’s journal while she’s supposed to be cleaning, and it’s from this journal that we hear most of his backstory. But not much in the way of scientific detail. “I suppose I could try to tell you again how it works, but you would be horribly bored by the telling, and even when I was done you still might not understand entirely. But that is all right, old friend. There is a much better way for you to understand what I invented. Plug in your phonograph. Plug in your toaster or reading lamp…” \u003c/p>\n\u003cp>Tesla does not strike me as the type who worried about boring his listeners. Most scientists I’ve known are more than happy to go into great excruciating detail about their research, whether you want them to or not. And many of them are able, through their obvious enthusiasm, to take a complex thing like electrical current and make it fascinating. Even if you don’t really get how it works, you get why they love it. Did Hunt shy away from hard science because she was afraid she wouldn’t render it well? Not sure. What she does render beautifully is Tesla’s lonely inner world. The descriptions of his Serbian childhood are especially great. Early on, he recounts a story about his beloved older brother, Dane. Describing his twin feelings of overwhelming love and jealousy, he says, “The hole of what I had missed, the hole of not being my brother, after some time, dug down into my ear canals, through my nose and mouth. Envy and love choked me like a drill.” That’s the kind of original, Samantha Hunt observation I was hoping for when I picked up the book.\u003c/p>\n\u003cp>The descriptions of the evil Edison workshop are also wonderful. “I already recognized how Edison enjoyed pairing men who despised each other. Repulsion, frustration, disagreement, and anger were, Edison believed, the forge of good ideas. There was coughing, spitting, matches being lit to burn pipes, lunch pails tossed aside at the sudden burst of a good idea[…]and there was the sound of Mr. Edison taking credit for it all.” Angry men with tools hurl invective at one another, and you feel like you need to duck.\u003c/p>\n\u003cp>Unfortunately, we don’t get to keep Nikola Tesla as our sole protagonist. We’re interrupted with Louisa, the chambermaid, and her love story; her father, Walter, trying to reclaim his past; and his friend Azor who may or may not be insane. There is a lot of running around and high drama about a time machine that may or may not actually work. I wished that Hunt had either jettisoned all the secondary story lines and stayed with the marvelous Tesla voice, OR she had expanded the relatively slim 250 pages a lot further, into a huge, 600-page multi-voiced romp, \u003cb>Amazing Adventures of Kavalier and Klay\u003c/b>-style, so that each wacky subplot could be drawn out to its full and logical conculsion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of the two books Samantha Hunt has written thus far, this one isn’t my favorite — but that’s not to say it isn’t sweet and delightful and quite an accomplishment nonetheless. (It’s only “less good” in relative terms, not absolute.) Hunt has said in interviews that she had never heard of Nikola Tesla before she embarked on this book. This is good and bad news. If you’re already well-versed in the Tesla legend, there won’t be anything in here that is especially new. 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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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