7 Authors Who Almost Died

Gabe Habash -- May 15th, 2012

When looking at a brush with death, it’s amazing to consider how differently subsequent events would’ve played out had a more tragic result happened. In the case of these writers, it’s amazing to think how much today’s literary canon would be missing if a matter of inches were different, or if the timing had been slightly different.

1. George Orwell was shot in the throat by a sniper

On May 20 1937, George Orwell, while serving in the Spanish Civil War for the left-wing Republicans, stood on a trench parapet and was shot by a sniper. The bullet hit him in the throat, just missing his main artery. The moment was a pivotal one for Orwell, and formed much of his following work. He wrote about the incident (which can be read here) and the experience of what he felt and noticed, including this wonderful moment as he was being carried away on a stretcher: “The leaves of the silver poplars, which in places finger our trenches, brushed against my face; I thought what a good thing it was to be alive in a world where silver poplars grow.”

2. Alexander Pushkin’s penchant for dueling finally caught up with him

Alexander Pushkin wrote some of the most important and enduring literature of all time, but he was also really easy to lure into a duel, engaging in 28 of them before dying in the 29th in 1837 from a bullet to the spleen from Georges d’Anthes, a French officer rumored to be his wife’s lover. The duel is one of the most famous in Russia’s history, depicted in art and film. And even though Pushkin only made it to age 37, it’s a miracle that he lived that long as long as he did and gave us the work that he did.

3. Pearl S. Buck went into hiding during the Nanjing Incident 

The Pulitzer & Nobel winner spent much of her life in China (which became the material for The Good Earth), but the Nanjing Incident in 1927 saw Buck and her family hiding in the hut of a poor Chinese family while their own house was looted. The city, which was the stage for the Nationalist vs. Communist battle, was the site of killings of both British and Japanese consuls, as well as the death of the American vice president of Nanjing University, John Elias Williams. Buck’s family, along with the rest of Nanjing’s foreign citizens, were evacuated.

4. Fyodor Dostoevsky was mock executed

On the morning of December 22, 1849, a 28-year-old Dostoevsky was led to Semenovsky Square and placed in front of a firing squad (depicted here). Famously reactionary Tsar Nicholas I feared a revolt and had Dostoevsky and his fellow Petrashevsky Circle members lined up to be made an example of–but at the last moment, the Tsar called it off to show the extent of his mercy, and instead sent the young writer to four years of grueling labor in Siberia. Had the execution not been called off, Dostoevsky’s entire canon would’ve consisted of Poor Folk and The Double.

5. Chinua Achebe was paralyzed in a car accident

Most everyone knows about the car accident that seriously injured Stephen King in 1999, but less know that Chinua Achebe, the author of perhaps Africa’s most famous literary work, Things Fall Apart, was paralyzed from the waist down in a 1990 car crash. A broken axle caused his car to flip, and though the other passengers sustained only minor injuries (including Achebe’s son), the weight of the car fell on Achebe. He was rushed to England and treated. Since the incident, he has held positions at Bard College and Brown University. In 2007, he was awarded the Man Booker International Prize.

6. Nelly Sachs barely escaped from Nazi-occupied Germany 

In 1966, Nelly Sachs was awarded the Nobel Prize in Literature “for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength.” That day may have never happened if Sachs hadn’t made it out of Nazi-occupied Germany in 1940. Thanks to an order from the Swedish royal family (on behalf of Sachs’s best friend Selma Lagerlof), Sachs and her mother escaped to Sweden a week before she was scheduled to report to a concentration camp.

7. Ernest Hemingway was hit by a mortar shell in World War I

In 1918, while serving on the Italian Front as an ambulance driver for the Red Cross, 18-year-old Ernest Hemingway was struck by an Austrian mortar shell while handing out chocolate and cigarettes to soldiers in a dugout. He was knocked unconscious and shell fragments entered his entire body, including his head, legs, and hand. After he regained consciousness, Hemingway picked up a badly wounded Italian soldier and carried him to the first aid dugout; he later said he didn’t remember how he got back. He was awarded the Silver Medal of Military Valor.

Good Books, Good Movies: Carver Fans Should Check Out ‘Everything Must Go’

Gabe Habash -- May 11th, 2012

I know this isn’t a new movie, but last year’s Everything Must Go, based on the Raymond Carver story “Why Don’t You Dance?”, is a treat, and it’s now available on Netflix Instant. It’s 10 times the film Short Cuts is, and, miraculously, actually feels like a Carver story made into a film. Will Ferrell’s Nick Halsey in Everything Must Go plays like Will Ferrell’s Harold Crick in Stranger Than Fiction, but even more reserved. The film uses quiet and introspection the way Carver’s writing uses subtext and between-the-lines meaning, as well as employing a Carveresque tone–a mixture of pathos, quotidian wonder, wry humor, and touching humanity.

It’s the perfect movie for a lazy weekend afternoon.

White Queens: Digital and the containment of form

Peter Brantley -- May 10th, 2012

I’ve been much consumed recently by questions of what the future holds for books and expression. In part that’s because I have to give a commencement address soon to an Information School, and I am struggling to articulate, at least to myself, some of the things that are nagging me. Further, yesterday I had coffee with Bob Stein, a consistently iterative digital pioneer; we spoke briefly about the nature of innovation, and he reflected on the comment Beethoven is said to have made to a critic of his string quartets (Op 59 No 1), “Oh, they are not for you, but for another age.”

My intuition is that we are beginning to explore the threshold of new equivalents to Beethoven’s string quartets. For example, I’ve been working with the project directors for Mozilla’s popcorn javascript library, which aims to “make video work like the web” – in other words, bring a level of deep interaction into video content that can in turn be embedded into other network experiences. That path can be trod down quite far, into immersive and responsive 3d videos that are personalized for the viewer. More immediately, I think we’ll see some impressive demos before winter within high visibility production environments that will help us re-imagine how to contextualize video expression. Not entirely unrelated, there’s also growing consideration of how augmented reality can etch network presence into our streetscape and how near field communications (NFC) will extend network transactional reach into our lived environment.

What’s common in these threads is the reduction of separation between ourselves and the networked environments we are living in. This isn’t a cyborgian vision so much as an awareness that we are living in a sensed and sensing environment of ever greater pervasiveness. Like it or not, conscious or not, we are truly in a conversation with a man-made habitat that is machine-enhanced. Some of that new perception will find its way into artistic expression.

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This Book Costs $1,000

Gabe Habash -- May 8th, 2012

Move over, Modernist Cuisine. Taschen, publisher of expensive, limited edition books has a new ceiling with this expensive, limited edition book: Marilyn & Me costs $1,000, or $2,000 if you want to splurge on the even more limited Art Edition.

Written by Lawrence Schiller, the book is a visual memoir of the photographer’s relationship with Marilyn Monroe, whom he photographed on the set of Something’s Got to Give. Here is what you get for the price:

  • Collector’s Edition of 1,712 numbered copies (books numbered No. 251–1,962) signed by the photographer. Also available in two Art Editions of 125 copies, each with an original photograph
  • The book and clamshell box are covered in a custom woven duchesse silk from one of the world’s most distinguished silk mills, Taroni, of Como, Italy
  • Printed on archival paper
  • Four foldouts, with one gatefold measuring a full 110 cm (44 in.) across
  • Translation booklet of the text available in German, French and Spanish with purchase upon request

The two Art Editions, which sell for $2,000 and are limited to 125 number copies each, come with either of these two signed images:

Order here.

A soft landing on Normandy

Peter Brantley -- May 4th, 2012

As I write, my week is not half over yet, and it’s been full of meetings with startups at various stages of market readiness. I’ve had conversations with folks at the Atavist in New York; Aerbook here in San Francisco, and some visiting founders from a new company in private beta, Valobox. Additionally, I had the honor of participating in a “Future of Publishing” event sponsored by Pearson at Rocket Space in South of Market in San Francisco, with my co-panelists Matt McInnis of Inkling, the Managing Director of FT.com, Rob Grimshaw, and the CEO of Blurb, Eileen Gittins.

It did not take long in my conversations before a common thread became apparent. It gelled in the Pearson event when Matt McInnis asked our audience, “How many here have used Pagemaker? InDesign? Word?” His question targeted a 30 years evolutionary path in software that is about to become obsolete – page-oriented authoring and design. Publishing’s new default is not a page of paper, but a web page, which has dynamic sizes and shapes. Regardless of the kind of content new publishing startups are thinking about building services around, at heart, they are oriented toward the web, not the page. Yet, quixotically, the web itself is not quite ready. For now, startups are building software for tablets with sophisticated processors, built-in networking, tightly coupled user accounts, and a mix of local and remote storage for media: a combination for which current web standards can’t do full justice.

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More Kids Hating Classic Books On Twitter at #worstbookever

Gabe Habash -- May 2nd, 2012

Back in December, we featured some tweets from teenagers–ranging from annoyed to furious–all directed at classic books at the hashtag #worstbookever. If you thought the blood feud between required reading and teenagers was a 2011 phenomenon, I’ve got news for you. Here are the latest attacks by kids on books.

@hkrachhhy:

Gonna be up all night because of adventures of huckleberry Finn #worstbookever

@JessieGream:

I just wasted 10 minutes of my life reading spark notes for The Stranger. #worstbookever

@ohheyimjazzy:

I strongly dislike with a passion Frankenstein. End of story. No pun intended #worstbookever

@raychgreenwood:

I am not even kidding I will pay somebody large sums of cash if they read The Chrysalids and do my assignment for me #worstbookever

@miranduhhh3:

I would rather shoot myself in the face than read siddhartha. #worstbookever#torture

@NessieeD:

I’m only on page 12 of to kill a mocking bird … I’m suppose to be on chapter 11 . #worstbookever !

@kcdismukes:

Sheldon and Penny just quoted Heart of Darkness. #notcool#worstbookever

@juliakathleeeen:

Thank god Gatsby is finally over!  #worstbookever

@AnnieeElmerr:

I don’t want to read Jane Eyre, so I’m cleaning the house. #itscometothis #worstbookever

@JuliaHeartsYou_:

I am surprised that I actually wrote this pearl essay on time #ThePearl is the #WorstBookEver

@callibarta:

S/O to Mark Twain for writing the most pointless piece of literature out there!! #worstbookever#huckfinncankissmyass

@lexiorch:

romeo romeo- why art so f***ing stupideth? #worstbookever @_yvonnel

 

‘Madame Bovary’ in Pie Chart Form

Gabe Habash -- May 1st, 2012

Do you hear that? That bubbling sound? That’s just the row of many beakers bubbling that PWxyz uses to break down and calculate the exact component parts of famous literary works, which we in turn share with you in the form of a pie chart. Think of them as a much cleaner version of a cow’s stomach. That produces pie. Anyway, today’s pie breakdown is Madame Bovary (aka Madame Bovary: A Tale of Provincial Life, Provincial Manners, Provincial Lives, Patterns of Provincial Life, and Provincial Manners of a Patterned Life), not to be confused with Madman Bovary. Interesting fact: if Madame Bovary were a real pie, it’d be strawberry rhubarb pie. It’s true.

Previously we pie-charted Don DeLillo’s Underworld, which was sort of a shepherd’s pie.

 

Innovating from betwixt and between

Peter Brantley -- April 29th, 2012

As a relative outsider to publishing, I am still often surprised by how difficult business transformation can be for some organizations. I am a member of the Project Muse Advisory Board, and I’ve just emerged from their board and publisher meetings. Project Muse is a journals publishing platform; it aggregates journals in digital form and sells content packages to university and college libraries, research centers, and similar organizations. Muse is also making a significant entry into the higher education ebook market by providing access to publishers’ lists. Our meeting was energetic, and focused at a conceptual level on the challenges of delivering new types of services while transitioning away from more traditional aspects of journal publishing.

What was striking for me was not my anticipated discussion of content management systems that supported a wide range of data queries, might be more semantically aware, and capable of supporting a wide range of interactive media; indeed, these are today’s currency of the realm. Rather, it was the more basic conundrum of being caught between different kinds of customers: publisher suppliers, who are also customers, in a sense; and institutions, who buy their product.

The core conundrum for Project Muse, as with all platform providers, is that they can easily come into conflict with the priorities of the university presses and scholarly societies that provide them with content. For example, one opportunity discussed widely today in academia is creating “push to publish” services that are much closer to the user, often utilizing approachable tools such as WordPress; these services would be at home in library publishing units. If an existing platform provider tried to deploy such a lightweight and configurable publishing system, it could siphon audience away from constituent publishers. In fact, most new services that leverage internet technology and network-scale data sharing and computation end up being ones under consideration as well by university presses and scholarly societies.

The underlying issue is that the suite of possible new publishing services is within reach of multiple levels of the publishing field: university presses could make a go at putting broad net-scale services like PLoS One out of business just as easily as Muse or JSTOR, which operate at a higher level of aggregation. If a small press or society is willing to go through the significant tumult of re-inventing itself, it can reach the global community of scholars just as easily as Elsevier.

What that made me realize is that if you designed a publishing enterprise to support scholarly communication de novo, aggregating content from a range of sources but also developing direct publishing and reader/writer services, you could do it with very different constraints than Muse, JSTOR, and other platform providers have to grapple with. A new entrant, not unlike the Public Library of Science, could actually turn its back on existing publishing practice and design a direct-to-faculty or direct-to-discipline infrastructure that was wholly divorced from existing players.

That kind of disruption hasn’t happened much yet outside of science, technology, and medicine, but it is likely that it will, unless existing platforms quickly manage to figure out ways of innovating themselves into a new content environment while bringing their publishing contributors and constituents along with them, benefitting from the same new services platforms are designing for a broader audience. There may even be some unique advantages in sustaining those relationships, if they can be successfully leveraged.

The coming change in how we publish the humanities and social sciences, and in fact, what we can publish, could be even more transformative than the re-invention of STM. Building a new digital humanities infrastructure will mean interacting with visual interpretations of historical sites, hearing ancient or less common modern languages in linguistic treatises, and grappling with philosophical quandaries in a gaming environment with virtual goods. Ultimately this may reshape how faculty think about doing their research, as well as how it is communicated.

What Are the 10 Most Popular “Collected Stories” Books?

Gabe Habash -- April 26th, 2012

PWxyz isn’t quite sure how Amazon’s search formula is determined, but it’s probably not as complex as half the stuff we have going on in our headquarters, which looks like this. But we thought it was interesting to see what writers came up when you typed “collected stories of” into Amazon’s search bar, and we were more intrigued when we went back a day later and saw that the names had shifted. Here’s what we found–before you look at the results, test yourself and see how many you can get without looking!

No category selected (searching in all categories) on April 25:

1. John Cheever (sales rank #36,019)

2. John Cheever (“In Books”)

3. Eudora Welty (#39,915)

4. Arthur C. Clarke (#56,042)

5. William Faulkner (#27,601)

6. Katherine Anne Porter (#416,810)

7. Richard Yates (#256,531)

8. Joseph Roth (#437,899)

9. Colette (#449,212)

10. Lydia Davis (#36,045)

No category selected (searching in all categories) on April 26:

1. Cheever

2. Cheever (“In Books”)

3. Welty

4. Davis

5. Clarke

6. Faulkner

7. Porter

8. Yates

9. Amy Hempel

10. Roth

Oddly enough, when you select “Books” as the category to search, you get a slightly different top 10:

1. Faulkner

2. Cheever

3. Porter

4. Welty

5. Clarke

6. Davis

7. Isaac Bashevis Singer (#42,299)

8. Jean Stafford (#665,904)

9. Robert Silverberg (a number of “collected stories,” the highest ranked of which is #585,838)

10. Flannery O’Connor (#3,755)

And Google’s top results:

1. Faulkner

2. Cheever

3. Welty

4. Lydia Davis

Also interesting: if you just type in “collected stories” (drop the “of”), both Gabriel Garcia Marquez and Roald Dahl appear, as the titles of their books are just titled Collected Stories, rather than the more common The Collected Stories of

Capote’s ‘In Cold Blood’ Typewriter Sells for $8,281

Gabe Habash -- April 25th, 2012

The personal Smith Corona typewriter of Truman Capote, and likely the one he used to write In Cold Blood, has been sold on eBay for $8,281. The auction drew two bidders and three bids, and the winning bid was considerably higher than its $7,000 starting price.

From the seller, a friend of Capote’s:

All of these personal things were given to me by Mr. Capote. I picked him up from the airport in Kansas City, Missouri several times and drove him to Holcomb, Kansas. Mr. Capote was getting information on a crime that took place there for a book he was writing.

At WhatSellsBest.com, James Massey writes that Capote liked to write a draft of his books and then a revision longhand, before ever using a typewriter.