Category: Culture (Page 3 of 8)

What’s Done In the Dark Will be Brought to the Light: John Safran’s God’ll Cut You Down

by Andrew Hedglin

A 67 year-old white supremacist is violently killed in his home by a 22 year-old black man, who then mutilates his corpse. How’s that for a précis?

JacketTwo things (besides John Berendt’s blurb on the front cover) made me want to read John Safran’s God’ll Cut You Down one day when I came across checking our inventory:

1) Whoever titled this book is a genius. Although originally titled Murder in Mississippi in Safran’s native Australia, there’s a lot of mileage you can get out of the words to this old folk song, famously and recently recorded by Johnny Cash. First the pounding bass line gets stuck in your head immediately, like a song for a kick-ass mental movie trailer. It also sets up a certain set of expectations. Which brings me to the second enticement…

2) I first heard about the ballad of Richard Barrett around the dinner table by family members who have long been plugged into the Jackson scene. Anecdotes of the can-you-believe-this? variety. And the final act was one to beat all.

Now in my house, the barest facts told the story: the 22 year-old black man, Vincent McGee, was tired of oppression and white supremacy. At the very least, Barrett had finally reaped all the hate he had sown of his forty-year career of racist lunacy. McGee was an instrument of divine justice; God had cut Richard Barrett down.
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John Safran, the Jewish-Australian host of gotcha-television shows and a self-described “Race Trekkie,” had played a prank on Barrett the year before his death for his show. A year later and across the world, he saw people on the internet make the same assumption, but other people make add vague complications as motivations (sex and money), and found the picture to be incomplete. This is no classic whodunit—it’s a tangled why-dun-it. And that proves to be more complicated than the writer or reader might anticipate.

So Safran read a bunch of true-crime novels, like In Cold Blood and Midnight in the Garden of Good and Evil, and studied the form. There’s supposed to be a paradigm about how you see the world: I’ve told how I think things happened, but as Safran learned in Mississippi, two people can see the exact same thing and have two different explanations as to how and why it happened (and about things less fantastic than a race murder).

unnamedResearch complete, Safran hops on a plane to Jackson to investigate. One of the most charming things about Safran is his ability to recognize his own shortcomings. The first scene in Mississippi where he encounters this poster in the airport as he ruminates on his lack of experience as a writer is hilarious and amazing.

I should admit though that he does bite back later in the book when passing by the poster on his way into town again. And that’s one of the things I found most fascinating about the book as a Mississippian; books where the outsider comes in and tries to make sense of what’s going on read like poetry, when the familiar becomes strange. It breaks you out of the prison of your own experience.

Safran interacts with varying degrees of public figures: Barrett, Jackson Advocate reporter Earnest McBride, white supremacist podcaster Jim Giles, state representative John L. Moore, Madison and Rankin County DA Michael Guest, and even a cameo by a pre-mayoral Chokwe Lumumba. Just as interesting are his interviews with McGee’s family and his paramours, and Barrett’s neighbors and his former associates. Safran doesn’t use kid gloves in his treatment, but he’s not out to make a buffoon out of anybody, either—despite what reservations his television stunts might inspire.

As Safran digs deeper into the night of the murder, and the lives of both Barrett and McGee that led them there, he becomes less sure about it all. Race casts a long shadow over everything, as does religion, mental illness, and repressed sexuality. The only thing he seems to uncover for sure is the complicated humanity of both men. William Faulkner never said “To understand the world, you must first understand a place like Mississippi”; but you know, in my opinion at least, Mississippi’s as good a place as any to start. And you will first learn about the stupid truth, always resisting simplicity.

Cline the Conqueror

Ernest Cline is one of many riding the wave after the dam broke open on nerd culture in America; and he is riding it higher than almost anyone. He is currently sitting near the top- not because he tried to blend his particular tastes into a mainstream-friendly book with a few cultural references sprinkled about, but because he unscrewed the top of the salt shaker and drowned us in them. He demands a cursory knowledge of video games, anime, John Hughes movies, Rush songs, Call of Duty, Star Wars and arguing with strangers on message boards. The more you know about any of these, the more easter eggs and snarky jokes you will get (and he gives more than you will see in a one hundred different books).

JacketArmada was a real pleasure to read. It explods off the launch pad into a blazing fast novel of space ship battles with some really heart-felt moments. Cline makes no effort to hide where this book is headed from page one: we’re about to fight some filthy squids in space. Ernest Cline will be (and is) the first one to let us know that he, more than most, understands that this trope to be all too familiar. But if it is so familiar to us all, maybe there is a reason for that. Maybe all this violence in video games does rub off on us. Maybe we should be hoping that it does.  (No spoilers, so I can’t explain why)

I think this second effort by Ernest Cline has a few weak spots, but the straight-as-an-arrow plotline is forgotten as soon as you step into the first space ship. All of the sarcasm and witty dialogue that got our attention in Ready Player One (Cline’s first novel) is front and center here. The nerd culture explosion of movies, games, and music will be there as only Ernest Cline can deliver. 

giphyThis swell in the popularity of fan-based culture can be attributed to a lot of different things, the internet being at the top of this list, but there is another reason. People finally realized that the kids spending hundreds of dollars to create a cosplay of that one alien in the background of that one scene in Star Trek are the same people that will empty their bank accounts into new, exciting content. Spend some money on this crowd and they will spend money on you. This has lead to a huge expansion in the attention big studios are giving nerd-centered projects that reward the big-budget glossy paint job so well.

Ernest Clines’ first book Ready Player One is now in the very capable hands of Mr. Steven Spielberg. If the release of this movie is as big as I think it is going to be, then Ernest Clines’ spot on the throne of contemporary nerd-hood will be set until someone sees fit to challenge him (via a head to head game of Joust probably).

Jupiter Ascending: The best action film you can imagine? NOPE

Jupiter Ascending: The best action film you can imagine? NOPE

One thing I know, and I know it well: we nerds are a fickle bunch. We don’t want to be tricked with special effects to patch up a weak plot (I’m looking at you, Jupiter Rising) and we will scream at the top of our caps lock keys to let everyone know about it. Lord help he who leaves a plot hole; in other words, don’t mess with time travel- it usually won’t work out well for you. Green screens look like green screens, period. Cameos are fun, but like special effects, you can’t just substitute Stan Lee making a pun in place of a little character development. Do I need to mention that we are an impatient bunch? Just ask George Martin (or Rothfuss or Lucas or Tool for that matter). If you follow these complicated, difficult rules then you still might fail and we will offer no sympathy for 10 years. After 10 years you will get invited to a couple comic cons and become a “cult classic.” For those that walk through the flame of the message boards and battle the mighty comic-con panels your reward shall be fans as far as the eye can see.

y9uuetrI hope you find this new swing in pop culture as exciting as I do. Come celebrate this nerd pride with us tonight at 5:00 in our .dot.com building and meet Ernest Cline himself. We’ll be the ones in the corner selling copies of Armada, Ready Player One, awesome merch, and quoting The Breakfast Club or arguing with you about the over use of the eagles in The Lord of the Rings. We would love to nerd out with you.

The Ghost Network by Catie Disabato

Jacket (1)Secret societies, missing pop stars, history and mystery and music and revenge, The Ghost Network is a lot of things… here’s what it is not:

A dating website for restless spirits.

A public access television channel catering to the interests of the undead.

The best book you’ll read this year.

I know, I know… bad bookseller loose on the blog. Maybe I’m supposed to tell you that this book will be life changing, but it just isn’t. While it uses quite a few things that I am personally obsessed with, and seems to revolve around varying levels of obsession, I wasn’t particularly obsessed with the book itself.

So why am I writing about it? Because it is FUN. Duh.

It’s a fun book! What more do you want here as summer is slipping away? Take a break from the required reading. Deviate from that “to read” list you’ve been adding to all year. Stick your nose in a book that doesn’t ask for too much.

That’s what The Ghost Network is: a book that doesn’t ask for much. If you stick with it, Catie Disabato lays just about everything out for you by the end. Part of the novel’s charm is the pseudo-journalistic style of Disabato, or rather, the character version she has created of herself. She is telling the story in a matter of fact fashion, because she is following the facts. It is presented as a cold case followed by a number of characters, and while Disabato’s is the voice putting all the puzzle pieces together, it is full of footnotes, anecdotes, and references to interviews that try to give it the weight of reading a police report.

lady_gaga_gif_by_nino_by_givemeallyourpoison3-d5yaa1oThroughout the investigation, Disabato clues the reader into the activities of a secret society, their motives and methods, and weaves real world history, geography, and pop culture into their intrigue. I almost feel sorry for anyone that picks this book up after 2015, because it is meant for a right now audience. The missing diva is clearly a stand in for our world’s Lady Gaga, but with a side of conspiracy, and the characters looking for her could be any number of her devoted fans, served with heaping helpings of free time, an extra order of natural detective ability, and an insatiable appetite for pop.

You’ll encounter hidden methods of public transportation, secret headquarters under attack, and terrorist plots gone wrong. You’ll see young people falling in love, sacrifice for the greater good, and vengeful back up dancers. You’ll find plenty to google when you’re done, and all set against a beautiful, snowy Chicago skyline.

In short, The Ghost Network is a meta romp through hip culture that touches on the obsessive delights of a millennial generation and appropriates art, history, and philosophy to legitimize its snowballing, mystery plot. And it’s fun.

Hold Still by Sally Mann

If you don’t know who Sally Mann is, that’s okay. But, you may want to get to know her. I didn’t know exactly who she was either, I only remembered her most famous photograph of her three children. Maybe this one rings a bell?

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She’s pretty well-known for her large-scale black and white photographs, and her second book of photography “Immediate Family”—filled with photos of her (mostly un-clothed) young children. Yes, she got quite a bit of backlash due to this, but hey, it’s her children and her life. Sally said it best when describing how she takes photographs and what that might cost her: “To be able to take my pictures I have to look, all the time, at the people and places I care about. And I must do so with both warm ardour and cool appraisal, with the passions of both eye and heart, but in that ardent heart there must also be a splinter of ice.”

unnamed (2)Mann’s new book, Hold Still is not just a photography book, she has let us step into her life by making this book her memoir. I’ve always enjoyed photography, and I’m not going to lie, at first I only picked this book up in the store to flip through the photos. I was told that she had been to a “body farm” and taken photos of the human body’s stages of decomposition and damn, she really did (yes, I’m the gross kid that thinks that stuff is cool, sorry about it). This book is filled with photos from the birth of one of her children to photos of family relics. All of which are intriguing and beautifully done.

While the photography is great (trust me, it is), I really stuck around for her writing. I picked this book up while I was working, and didn’t want to put it down. I literally had to, because…you know, work comes first. But! I knew I had to buy this book. Reading the pages in this book will make you feel like Sally Mann is sitting right next to you joking and telling you her life story. Her wit is perfect, it sucked me right in. She’s a bit of an odd-ball, but aren’t we all? I think that’s what truly makes this feel like your best friend is telling you a story, instead of you reading a book.

This books the best of both worlds for me (and hopefully you!). The photography is beautiful and her writing makes me wish I had grown up right next door to her in Virginia in the 1960s.

Between the World and Me by Ta-Nehisi Coates

I don’t need to spend much time telling you this book is going to make waves, you probably already know that. I’ve walked into a restaurant holding the book and was haphazardly ushered into a table of strangers demanding to know how I got my hands on a copy of Between the World and Me before its release date. In another instance, a customer at Lemuria asked me what was my favorite bourbon, and offered to go to the liquor store that moment to find an adequate bribe to loosen my clutch on the book. Sorry man, Between the World and Me is worth more than the most expensive bottle of bourbon.

51356xQ+swL._SX326_BO1,204,203,200_Put down what you’re reading and pick up Between the World and Me by Ta-Nehisi Coates. It won’t take up more than a day of precious reading time. I am positive you will easily find profundity in Coates’s words regardless if you’re a man, woman, white, black, skinny, fat, carnivore, vegan, liberal or conservative.

Coates’s eloquent prose has given me chills as I sat reading in the blistering Mississippi summer, and his fiery gestures have made me sweat when I lay on my back reading with my AC set on 68. Rather than spoil his message by trying to use my words to explain Coates’s words, I want to share how this book has forced me to remember something tragic in my own history and made me examine it using new lenses.

Between the World and Me covers a lot of ground in a mere 152 pages. But one section left me in a trance it forced me to remember a story from my own history, which I have attempted to erase from my memory by burying it in silence.

Coates speaks to his time at Howard University as a momentary utopia, or in his words “The Mecca.” In his Mecca, for the first time, Coates is comforted by being around people like him—black men and women with vast intellectual concerns. But, the love he felt at Howard’s “Mecca” is shattered when a colleague is murdered in a case of senseless police brutality.

His words forced me to think. Between the World and Me took me back to the time I spent in my personal Mecca and it’s own violent end. It forced uncomfortable thoughts of my own whiteness to the surface, leaving my pores bubbling with anxious self-reflection.

* * *

I remember paying for my lunch at my public high school line and standing there, motionless, trying to gulp down an anxious stone in my throat. Where do I sit today? There dozens of tables, each comprising a community of kids, each inward looking, each excluding the next table as if they weren’t sitting together in the same room. Uniformed, sunburnt white baseball players sat together flirting with the future home-coming queens. The black footballers sat together showing each other their new, first-wave smart phones. The lower-income white kids sat together in their baggy-pants, throwing tater-tots at each other when the eyes of the disciplinarians turned away.

There was one table that was a bit less populated than the rest. A black kid wearing a Jay-Z t-shirt was beating his palms and a #2 pencil in alternating rhythms on the table. They were taking turns practicing their best Wayne impressions, spitting freestyles fraught with vulgarities about women, weed, and violence. They noticed when I sat down, but they didn’t make a big deal about it, they actually slid down to close the awkward gap I had left open because of my anxious uncertainty. I ate my processed chicken nuggets and bobbed my head in time with the tapping of the #2 pencil.

I ate my lunches this way for the next few years. We didn’t usually talk about blackness and whiteness, but it was coldly observed in the absence of their fathers, the warmth of their mothers toward me, and the distance of their older cousins that flashed gang signs and slapped complex handshakes.

Our sessions left the lunch room and went into the bedrooms of our suburban middle class homes. When it came my turn in the cypher, I’d let loose all the anxiety I’d scribbled in my journals into lyrics manifested by a two step beat and a bass drop. When my eighth bar had landed, the guys would burst with laughter and say, “Damn white boy got some words.”

This was the first time my passion for words made me feel cool. I have always manically been putting words into journals, secretly hoping to share them—not only to share them but for my words to make me cool. These young lyricists were The Mecca for me, not only did they listen to my words, but they introduced me to friends and friends of friends who also thought rhyming and beats were cool. I was at home in the comfort of not having to guard or hide the sincerity of my passion.

There were four kids I hung out with routinely, and we became pretty damn close. They were black guys and I am a white guy, and there wasn’t any ignorance of that fact. Between the World and Me reminded me how perversely race issues can slither into Mecca and usurp the comfort Mecca provides.

We were about to graduate. We had done alright in school. Good enough to go to college if we were willing put our noses to the grind stone. I ended up getting accepted to Millsaps College, one of us went into the airforce, and the other two ended up getting felony charges.

One of those kids pled guilty and took two years jail time, and the other accepted to be a CI and try to get a bad guy arrested.

I was running late for a morning class during my sophomore year of college and I got a call from the friend who took the jailtime in Parchman. He sounded completely different. Alive with rage. Frankly, he sounded ready to kill. Then he told me that our friend, the one that took the offer to be a CI, was found dead in an abandoned home with his hands duct taped behind his back and a bullet wound to his forehead. The friend on the phone swore revenge and he thought he knew on whom it should befall.

I walked to class along the giant wrought-iron fence topped with razor wire that “secured” our luxury automobiles and macbooks from the larger black community surrounding my college.

The class was Civil Liberties. It was a nice spring day and we sat outside and discussed Brown v. Board of Education. The professor was mid sentence when a staccato burst of gunshots a block or two away cut him off. One of the white kids laughed, detached from the reality outside the safety of the precious spools of razor wire. He said, “That’s Jackson for you.”

I stood up, and in a rage of expletives I excused myself. I dropped the class and never went back.

I was angry with myself for being comfortable. Angry that my friends, who had first showed me that it was ok to be the person I saw myself as, were killing, imprisoned or dead. Angry that it was too hard to talk with new friends about what happened to them. I was angry that I was in college when I didn’t deserve it any more than one of them. I was angry at my own whiteness, and frustrated at the fact that whiteness had mastered me with a private education where it was ok to analyze Brown v. Board of Education and laugh at black on black violence in the same breath.

I’ve been to Mecca before, and my Mecca ended much the same way as Coates’s—this is not a coincidence, this is evident that the emotions and observations expressed in Between the World in Me are truthful. Racially driven violence is systematic and intrinsic in today’s America; there is no way to escape application to you, whoever you are and wherever you are reading this.

Ta-Nehesi Coates in Between the World and Me has empowered me to be able to share this story with you; a story I’ve tried to forget for so many years and hardly ever shared. I’m a white guy and can never understand the suffering black bodies are put through. But, Coates has forced me to re-examine what it means to black and what it means to be white. Blackness and Whiteness are real things—tangible things. Coates explains why whiteness and blackness cannot be circumvented by neo-liberal policies of colorblindness. Race issues are just as American as hot dogs, and we must constantly examine and re-examine the mechanics that propel racial violence and mistrust because they are parallel with the grand mechanics of domination and oppression. Pick up the book. Read it and think about who you are and honestly ask yourself how race has affected your life.

Please direct any thoughts, comments or questions to Salvo Blair at salvo.blair91@gmail.com

The Looming Tower by Lawrence Wright

Surah CIX

The Disbelievers

As Revealed at Mecca

1: Say: O disbelievers!

2: I worship not that which ye worship;

3: Nor worship ye that I worship.

4: And I shall not worship that which ye worship.

5: Nor will ye worship that which I worship

6: Unto you your religion, and unto me my Religion

Are you a history buff interested in accounts of War—specifically moments like Pearl Harbor, the sinking of the Lusitania, or the Gulf of Tonkin incident? If you are, you must know the potent, practical knowledge of studying instances in which the USA has been forced to abandon ideals of isolation to wage war in foreign lands.
those-who-cannot-remember-the-past-are-condemned-to-repeat-it-george-santayanaI have met professional and amateur historians that rattle off facts and stories about D-Day, Pearl Harbor, or the A-bombing of Japan as if they stood there with omniscience on each of those days—but I have met very few people that are receptive to the same, vivid discussion concerning what happened on 9/11.

This is understandable; the wounds of 9/11 have hardly scabbed over. We still feel an emotional connection to the event and there is a collective seething just beneath the surface of our skins that makes objectivity an arduous pursuit. Alas, in order to channel our emotions toward greater resolution we must ready ourselves to have discussions with our peers without the fear of sounding “Un-American” or resorting to branded key words that numb our tongues and blind our vision.

As for many of the most difficult dilemmas, the Shelves of Lemuria may hold the answer.

 

I had only begun to realize what happened on 9/11, and so six years after the towers fell I decided to buy a first edition copy of The Looming Tower by Lawrence Wright from Lemuria. Previously, it had been impressed upon me that the reason we were attacked was the product of an animosity driven by jealousy, silently brooding over seas, seething in envy of American ideals and freedoms.


Jacket (4)The Looming Tower
by Lawrence Wright exposed frailty and incongruence in my own perception of what happened on 9/11, 2001. The pages of this work armed me with a powerful weapon—understanding. Besides my own heartfelt praise, The Looming Tower has been internationally lauded as a must read by a myriad of authorities, and won the Pulitzer Prize. After finishing The Looming Tower I feel it is my civic duty to encourage you to read this book.

Within the book, Wright makes poignant elaborations concerning the atmosphere that propelled the atrocities of 9/11. Much of The Looming Tower is spent analyzing Osama Bin Laden’s complex relationship with the West and with Saudi Arabia. An effort is spent to humanize Bin Laden and understand the importance of his exile from Saudi Arabia and the dual issuance of Fatwas against Saudi Arabia and the United States concerning the presence of an American military base on Islamic ground.

The Looming Tower makes the claim that Bin Laden’s expulsion from Saudi Arabia, where he was gaining traction as a populist mobilizer, led to his formation as an internationally sought financier and organizer of several grass roots extremist organizations. Bin Laden allowed the hunger for retribution corrupt his high levels of education and pervert his ideology towards gruesome ends. His thirst for vengeance upon the religious and political elites of Saudi Arabia catalyzed his momentum towards the violent culmination of 9/11.

Bin Laden’s motive as shown in The Looming Tower for organizing the hijackings of 9/11 was a strategic maneuver of wicked guile. He wished to strike the Saudi government, but found his organizations’ numbers too small to carry out such an audacious move—so he did the one thing that would become the legacy of the recent wars in Iraq and Afghanistan: improvisation.

The lesson applied to The Looming Tower explains to me why Bin Laden attacked America in the first place. The thousands in the Towers, on the planes, and working in the pentagon were doves—completely innocent to motives and intentions of Bin Laden. The American Air Force, being the metaphoric red-tailed hawks theoretically would have become hungry for large meals of the religious and political elite of Saudi Arabia (being the metaphoric timber rattlers).

The stratagem was quite simple: attack Saudi Arabia by proxy. Al-Qaeda casted the 9/11 hijackers nearly exclusively from Saudi Arabia in order to illicit a violent response toward Saudi Arabia from the US. The intent of this design was to make it appear that the attack originated from Salafist and Wahhabi communities within Saudi Arabia, which (in thought) would propel America to employ their tools of war upon the political and religious infrastructure of Saudi Arabia. Perhaps, this could’ve happened if it weren’t for the hard work of our intelligence officers, who understood that the Taliban was housing Al-Qaeda in Afghanistan.

If you haven’t read a well researched, objective account on Al-Qaeda or extremism in general, The Looming Tower is the best place to start. Come to Lemuria, put the book in your hands and feel the historical proximity of yourself to Wright’s work. Open it, let your emotions flow as the pages turn and you will connect to this book immediately. Then the next step should come naturally: tell others how you feel and what you think should be the next step in “The War on Terror.”

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Photo Credit: http://www.dailymail.co.uk

In Defense of Graphic Novels

First, read this article.

Now, read this.

To most of us, college is a time to broaden horizons, mentally stretch, and to find out where to draw our lines. For Tara Shultz, the line was immovable from the beginning with no hope of being re-drawn. The problem of her protest is twofold: trying to force the books out of curriculum for all students instead of personally removing herself from the class is ultimately a selfish and bullying tactic; and by claiming that she was “expecting batman and robin, not pornography” is patronizing and belittles an entire genre of literature (and its authors) that can have the emotional depth and breadth of the written novel.
Jacket (1)We at Lemuria have been striving to carve room in the store to build up our stock of graphic novels that we believe are fulfilling, fun, and thought-provoking. We encourage all of our readers, young and old, to explore this medium of literature and remain open-minded as they read. Ultimately, a graphic novel on any subject can be challenging because instead of being the commander of your imagination and creating your own version of the world being described to you, an illustrator takes that power away from the reader. It can be hard to un-clench our fists and relinquish that control. However, handing over the power of imagination to the artist does not make this mode of literature any less powerful or interactive. I believe that reading a graphic novel is in no way a passive act like watching television, but that it works different muscles in your brain, much like switching from jogging to swimming; both are cardio, both are effective exercises, but you can get sore in different places.

JacketOn several occasions when reading a graphic novel that was particularly weighty in its subject matter, having the wheel of imagination taken out of my hands was a relief. I can’t speak for all readers, but being able to take my mind off of the architecture of the world in the story and focus my attention on the characters themselves- it was transformative. So many brilliant artists use the illustrations in a graphic novel like a highlighter, underlining important ideas or phrases. In David Mazzucchelli’s Asterios Polyp, as the protagonist ages and changes, so does the style of art on the pages; and, peeling back even more layers of the title character, the style evolves even more as his opinions of the people around him change. It’s like looking through a pair of binoculars into a microscope; ultimately tricky and hard to wrap your mind around at times, but as the images come sharply into focus, the headache goes away and the wonder begins.
Jacket (2)In a turn of events that would probably surprise one miss Tara Schultz, the first time I experienced the moment when the rug of low expectations was pulled from beneath me was- you guessed it- when I picked up Batman: The Dark Knight Returns by Frank Miller. Poetic justice is a glittering and sharp sword. Miller weaves a story of regret and a scabby old identity crisis instead of simple vigilante justice and a good old fashioned political spanking for the corrupt. The Bruce Wayne of Miller’s Gotham City is older, tireder, and angrier than we are used to, and his self-conscious antics are equally compelling and embarrassing to see. The feeling of intense, growling reality that came from watching a man transform in such raw and painful way was shocking. I went in expecting witty one-liners and came out at the end shocked and emotional; feeling as if I had had a cold bucket of water sloshed over my head.

Jacket (3)This new age of literature isn’t so new- Miller’s Dark Knight was released in 1986- but it feels as if it’s just had a fresh bath. More literary readers are turning to the medium for consumption, and authors are skillfully doing away with the “Batman and Robin” stereotype that people like Tara Shultz are trying to paste over the whole genre. Alison Bechdel’s Fun Home waltzed into the spotlight when it was rewritten for the stage and recently won a Tony for Best Musical. Persepolis by Marjane Satrapi (one of the books that Shultz is protesting) became so widely known and influential that it has become required reading for many high school social studies classes. We are lucky enough to be living in a time where art, literature, and music are being appreciated and consumed in ways we never could have foreseen, but that won’t stop naysayers from trying to do away with anything they deem inappropriate or different. Educate yourselves. Read new things, stretch those unused muscles, and help us to encourage the growth of a generation of forward-thinking, open minded individuals.

Key’s Southern ‘secrets’ too funny, painful, true to share in ‘World’s Largest Man’

By Jim Ewing

Special to The Clarion-Ledger
JacketBefore saying anything about The World’s Largest Man by Mississippian Harrison Scott Key, let’s get down to brass tacks. First, we probably need to keep this book a secret just between us Southerners.

Key, the scurvy lout, reveals all of our secrets. Such as: Most Southerners, despite literary assumptions elsewhere, don’t know how to tell a story. Their dinner conversation is not a Faulkneresque regaling of the gothic intrigues of their kin, but in fact is mostly grunts, or code. Such as:

“You ever speak to old Lamar Bibbs?”

“Not since him and Gola Mae went down yonder after the thing up at the place.”

Silence.

The story ends then, as grandpa studies his dentures that he has placed in his hand to remove particles of corn.

Storytelling itself evolved, reveals Key, because in Mississippi when he was young “there was very little to do but shoot things or get them pregnant.”

So, as you can see, with such truths as this leaking out of Key’s pen, we don’t need to be spreading it around.

Key does reveal that he’s still a Mississippian, sort of, though maybe a bit around the bend living in Savannah, Ga.

“I do believe in the power of Jesus and rifles,” the Belhaven University graduate confides. “But to keep things interesting, I also believe in the power of NPR and the scientific method” — which means he’s probably out of sync with most of the people who write letters to the editor of The Clarion-Ledger — and vote.

Key came about his odd mix of weltanschauung by spending his early years in Memphis, then moving to his parents’ native Mississippi in fourth grade — where, he tells, his classmates had sideburns, body odor, and large male parts.

He had moved, you see, to Puckett in Rankin County.

He chronicles such things as:

– Rites of Passage, such as the dove hunt, where the drunken leader of the gun-toting mayhem says: “Only rules is don’t be shooting nobody in the face.”

– Vital Knowledge, such as the Rankin County News, he relates: “a publication I would later value chiefly for its photographs of local virgins.”

– Football: “It had everything required to make a boy into a man: brutality, blood, a concession stand.”

Living as he did walking between the worlds of Mississippiana and what some people mistakenly call civilization, he learned to observe the ways of people in the Magnolia State the way anthropologists study ancient civilizations.

Largest Man is a laugh riot that will shake the skeletons of any Mississippians with the slightest sliver of a funny bone. But that’s only half the story. It’s leavened by insights about his father, moments of fear and sadness, inadequacy, and anger. For, at heart, Largest Man is a coming of age story about the difficult life his tough-as-nails asphalt salesman father laid out for Key, with its attendant disappointments. Throughout, his mother, a schoolteacher at McLaurin Attendence Center in Star, shines like a gentle beacon of hope and love, albeit with her own quirks.

As a memoir, Largest Man weaves poignant growing up tales that are profound. He reveals very real and somber truths about growing into adulthood, fearing — and knowing — that he never measured up to his father’s expectations, and lays bare his own failings, as a husband, as a father.

Some parts of the book are so filled with sorrow only laughter can heal the pain. We laugh with him, knowing we share his pain, as individuals, as a region.

That agony, too, is our secret we sometimes try too hard to conceal.

 

 

Jim Ewing, a former writer and editor at The Clarion-Ledger, is the author of seven books including Redefining Manhood: A Guide for Men and Those Who Love Them, in stores now.

Spend Father’s Day With the World’s Largest Man

by Andrew Hedglin

Jacket“Well.”

This is how all of Harrison Scott Key’s stories begin, according to the end of the first chapter of his tragicomic memoir about his father, The World’s Largest Man.

He doesn’t literally begin all his stories this way, at least not in writing, but I’d like to think he really does when he’s telling them aloud, whether to his children at bedtime or to a small group at a party in somebody’s kitchen.

It’s a little pause that gives opportunity to the storyteller to think about if he really does want to tell what he’s about to, and for us if we really want to hear it. In the moment of the pregnant pause between collecting his thoughts and dispersing them, lies the warning I first heard from the late, great Lewis Grizzard: “I don’t believe I’d-a told that”.

But that’s the difference between him and me, I guess, and I’m glad he committed to the story. And once he commits to telling, we also commit to the listening, because it’s impossible to resist the honest, hilarious, stylized absurdity that is about to follow.

Key begins by telling us stories about a man—shaped by a culture—that has no use for the art of storytelling. Our protagonist gravitates towards his mother, growing to prefer the quiet gentleness of her cooking and reading to the violence-soaked nature of his father’s obsessions: hunting, football, fighting, and farm work. Yes, even the miracle of (bovine) childbirth aims its roughest edges at Key, working on a neighboring farm, for free, at his father’s behest.

Did I say “gentleness” in that last paragraph? That’s not exactly what I mean.

Although sometimes uncomfortable with the more physical aspects of attempting (and often failing) to fulfill the expectations of Southern masculinity, he brilliantly unleashes his own aggression through his God-given talents for sarcasm and smart-ass-ery at every target available: his father in particular, the South in general, his rivals on the baseball field, potential bullies, his ne’er-do-well Savannah neighbors, later his wife (who is just as good at dishing it back), and even (and especially) himself.

His twin talents of insult and empathy lead him to say things which he then instantly regrets throughout all of his stories. That’s easy enough to let happen in conversation, or the dialogue of these stories, but leaving such joking truth on the page, after having enough time to consider what you’re saying? That’s a practiced and glorious art.

Curiously, he wounds his father mostly with disappointment rather direct verbal attacks, until about halfway through the book one day when his father beats our teen-aged narrator, half-naked and cornered on top of a washing machine, angrily with a belt. Key asks his father the question that has been building in his mind, and many of the readers’, throughout the narrative: “What the hell is wrong with you, old man? Are you crazy?”

Crazy can be a relative term, defined by both culture and circumstances. The second half of the books shifts the focus to his adulthood, leaving him a husband and a father himself in Savannah, Georgia. While he escapes the condemnation of the rural Rankin County mores he rejects, he examines the more unreasonable side of his nature in the face of challenges such as his wife’s pregnancy, his daughter’s potty training, tweaked-out neighbors relocation next door, and the very same home-invasion paranoia he began the book mocking his dad for.

The power dynamics do shift from a boy trying to connect with his different-natured father to a man trying to connect to his wife, the mother of his children, and sometimes partner-in-insanity.

Key has to learn which lessons to remember from his raising, and which ones to forget before it’s too late. It’d be easy to sell this book on Father’s Day as a exploration of a certain type of fatherhood, but there’s a lot to relate to whether you’re somebody’s child, parent, or spouse.

Mostly, I can guarantee if you make it to the book, you’re going to laugh a lot. You may even be tempted to tell a few stories about the things you remember from the harrowing experience of growing up.

Would you or I have the courage to celebrate and excoriate ourselves and even those we love as faithfully as Key has here?

Well…

 

Harrison Scott Key will be signing copies of this book at Lemuria on Thursday, June 18, at 5:00 p.m. and will be reading at 5:30.

 

A Little Bit about A Little Life

Every once and awhile (and it is more rare than you would think, since hundreds of books are released every year) a book comes out that is important.
JacketHanya Yanagihara’s A Little Life, is one such book. It is full of misery, injustice, wrongs so wrong they cannot be undone or fixed or ignored. But it is also full of small moments of joy. Glimmers of hope, not that the past can be reckoned with, but rather moments when the clouds clear and the future holds a promise.

This book is about many things, without the self-consciousness of being about anything. It is first and foremost a story.

A Little Life follows four friends struggling to survive in New York City after college. They are all full of ambition, as we all are after finishing college and trying to “make it big” in the city. JB is an aspiring artist, Malcolm an architect working for a big firm that is paying the bills but killing his spirit, Willem is handsome and friendly and failing to land a role in any plays, and Jude is a lawyer working for the public defenders office.

Although they all have their secrets and their suffering and their insecurities, the lens of the novel slowly tightens on Jude. Jude and his mysterious past. His scars and limp and success; he is the surprising point around which the four friends revolve.

The story does not linger. It is not about how these four friends find their paths and become successful (although we watch them fall into the decisions that will determine their futures), rather it is about life. All of it. Yanagihara pushes us forward, from Thanksgiving dinner to Thanksgiving dinner, from dinner parties to fallings out. With each step forward in time, more of the past is remembered.

A Little Life could be about the unattainable nature of justice or the mysteriousness of love or about forgiveness. It could be about homosexuality. But A Little Life is more then even that.  Yanagihara has successfully written a book in which sexuality is a non-issue and anyone arguing that this book is about homosexuality or sexual identity is missing the point. By identifying ourselves solely by our sexual preference we do ourselves an injustice. Before we are gay or straight or whatever we are, we are human. We are kind (or not) and generous (or not). We fall in and out of love. We try and succeed and fail.

But again, A Little Life is not about that. Or it’s not only about that. A Little Life is the story of Jude.

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