Teju Cole on Embedding Hesitation

Really enjoyed this substantive recent conversation on Krista Tippett’s “On Being” podcast. At one point, Tippett quotes Cole’s Blind Spot, one of my favorite books from the last few years: “To look is to see only a fraction of what one is looking at. Even in the most vigilant eye, there is a blind spot. What is missing?” She tells Cole, “I find that useful language.” The ruminative Cole responds:

Well, thank you. I find it very fortifying as an idea, to think about what is not evident, what’s not apparent. I have a real struggle, especially when I’m writing for the Times. I have a very sympathetic, understanding, and encouraging editor, who lets me get away with all kinds of things, but I’m always trying to lower the volume of my essays. Very often, I’m trying to write and not say more than can justly be said. I want to reduce the number of sparks. I want to embed hesitation and lack of certainty in it.

Remnick on Buddy Guy and the Blues

While not personally a blues guy, I loved every paragraph of David Remnick’s terrific New Yorker feature exploring Buddy Guy’s long career, the change of blues’s place in culture and what the future holds, if anything, for the genre as Guy’s been playing it. Toward the end of the piece, Remnick turns to his magazine’s own poetry editor — poet and essayist Kevin Young — for this insightful description of the form:

The blues contain multitudes. Just when you say the blues are about one thing—lost love, say—here comes a song about death, or about work, about canned heat or loose women, hard men or harder times, to challenge your definitions. Urban and rural, tragic and comic, modern as African America and primal as America, the blues are as innovative in structure as they are in mood—they resurrect old feelings even as they describe them in new ways.

“What We Lose”

Finished “What We Lose,” the debut novel from Zinzi Clemmons about a young woman living through the death of her mother. It’s been a while since I’ve seen a debut with four-plus pages of major press kudos at the start — good for Clemmons. I was not as thoroughly wow’d as some of the reviewers, but I was definitely impressed (strong voice, ideal format) and I’m glad I read it.

Terry Theise on "a Fine Kind of Melancholy"

From the wine importer’s crisply written and life-philosophy-framing book Reading Between the Wines, a favorite of mine from last year:

Such wines are not easy to find. We drink them just a few times in our lives. But we never forget them, or the places they lead us to. A few weeks before writing this, I dined with my wife in the Austrian Alps, in a restaurant whose chef worked with wild local herbs. We drank two stunningly brilliant dry Rieslings that buzzed and crackled like neon, and then we drank a '93 Barolo from Bruno Giacosa, a so-so vintage but fully mature. To go from giddy, giggling clarity of those Rieslings into the warm murmuring depths of that Barolo was moving in a way I grope to describe. It was as if the Riesling prepared us somehow, it reassured us that everything was visible, and then that smoky twilight red wine ... like the moment it gets too dark to read, and you get up to turn on the light and see a tiny scythe of moon low on the horizon and you open the window and smell the burning leaves, night is coming on, and there will be dinner and the sweet smells of cooking, and then at last the utter dark, and the heart beating darkly beside you.

I did something I seldom do — got just a bit plastered that evening, for which I blame the altitude, though I knew better. But I wasn't letting a drop of that Barolo go to waste. It stirred the deepest tenderness because it possessed the deepest tenderness. Tenderness is different from affection. Tenderness has a penumbra of sadness, or so I have always felt. Tenderness says there is an irreducible difference separating us, although we might wish to dissolve it. But we can't quite, however close together we draw; it is there as a condition of being. And then we see the sadness that surrounds us, wanting to merge into one another and finding it impossible; and then comes a compassion, it is this way for all of us sad hopeful beings; and then the membrane melts away, even without touching it melts away.

I don't know how it is for other people, but I myself know a wine is great when it makes me sad. Not a bitter, grieving sadness, but the thing the Germans call Weltschmerz, "the pain of the world," a fine kind of melancholy.

I came to reading Theise only last year, but, interestingly, my life overlapped with his wife’s years ago. Odessa Piper founded and ran L'Etoile, a Madison, Wisconsin, farm-to-table all-star years before that became an established phrase. Tamara and I had a special-occasion meal there during our time in Madison (2005-06), living together for the first time just before we got married and really settled into life together. While we were able to venture upstairs for a proper dinner only once, most weekends we would nibble fantastic croissants and sip terrific coffee in the building’s first-floor café, a stop during our morning walk around the Capitol.

Ah, memories of that simple time in our lives... A fine kind of melancholy, indeed.

Fjord Trends 2019 →

Thought-provoking framing of “what’s ahead for the future of business, technology and design.” From #2, “Silence is golden”:

We’re seeing a dramatic escalation in the rate at which people disconnect, unsubscribe and opt out to stem the barrage of content and messages that clutter daily life. As consumers, we’ve come to realize that it’s no longer simply a lifestyle choice, but a serious mental health issue. As we put up more barriers between ourselves and digital technologies, organizations must learn how to offer value to users who crave quiet in a noisy world.

Ta-Nehisi Coates on the Essential Role of Great Editors

At the close of Coates’ recent interview with Chris Hayes, the host asks him if he’s working on a new book. The dodge Coates gives, not wanting to discuss a project-in-process, ends up being a terrific toast to the necessity of sharp, tough early readers and editors:

I do, I do have a writing project and I love you people so much, let me tell you how much I love you. I was due on this writing project two weeks ago, it was like two weeks ago and yet I'm here with you. How much love is in my heart? Here I am. I do, man and I do and what I'll say is, I love it and it's the hardest thing ever. Writing is so ... I want to talk really, I don't know if they're people who want to be writers, who are writers in the building. But I just want to talk really quickly about that process. And about specifically working with [my editor] Chris [Jackson], who is magnificent. I give him shit all the time but he's actually magnificent, best editor and publisher, excuse me, make sure I get his title right.

I have a note that one day, we should have put it in "We Were Eight Years in Power," and the note is, I wrote "Between the World and Me" four times. And every time I would submit a draft to Chris and he'd be like, "Hmm, I don't know. I don't know, I don't know." Basically, I had to go and rewrite before we even got to the level of actual line by line editing. So he sent me a note after what must have been the second or third draft. And it's just like 2,000 words about why this does not work. And it was so depressing. I remember getting it at the time, I think you have to understand about "Between the World and Me" is, it's a book that came out of my head. I had artistic inspiration in the sense of James Baldwin, the fact that I had been working through the death of my friend for 14 years at that point.

I had the fact of a black president which was sort of swirling around but I didn't know what that was. Even the idea of a letter came at the very end of the actual process of us working together. And man, I got that note from Chris, 'cause every time you're like, "Okay, I think this is it, I think I got it, I think I got it." And it's go again, go again. And I feel like at that point, I was well-known enough and this is how the industry works. Somebody would have published that draft. It's an inferior draft, it's not the same book. And this is, I've been blessed because this is actually the relationship we have even on this book, man. I turned in a draft about this time last year. Oh, I'm done, we're gonna go to line edits. And Chris took forever to read it as is his way.

But when he did, he wrote, he did a little bit of line edit but he came over to the house and he talked to me about it and it was clear that I had to rewrite the whole thing. This is my third time, I've been writing this book for 10 years, this is my third time rewriting it. But he's not gonna let me embarrass myself. You understand? I think I'm good as a writer, but I actually have much more confidence in the people around me because the people around me, they just gonna tell me, "It's not time. It's not time, don't embarrass yourself." I think a lot of writers, listen, I think talent is really important but I think what I have been blessed with, from the time I was in my mom and my dad's house, you know what I mean? From the period of working for David Carr. From the period when James Bennett ran The Atlantic. I had hard people around me. You know who just pushed. Do it again, go again, go again, go again, go again.

So if you like what you see, and this is why I'm always a little uncomfortable with this, what you are seeing is not some innate thing. What you are seeing is, go again, go again, go again. And that's the spirit I think of certainly good writing and any writing that hopes to be great. The bleeding on the page. And then bleeding again and again. I just tell him this all the time, I'm thankful to have a reader like that who push you in that sort of way.

"American Curmudgeon: On Jeff Tweedy" →

Fantastic piece at The Ringer by Lindsay Zoladz. Can’t wait to read his new book.

For reasons that should by now be apparent, Jeff Tweedy never struck me as the candid-memoir type. In fact, whatever the exact opposite of the candid-memoir type is? He struck me as that. Although I have been listening to his music for 20 years, he’s always felt like an enigma. And that has always sort of felt like the point—here was this ambling, mumbling, Sour Patch–voiced guy who’d much rather put his life into oblique lyrical metaphors than say anything about it outright. The closest he’d ever come to a statement of self was “I am an American aquarium drinker”—and as gorgeous a lyric it is, I am still not sure what the hell it means. Even in Jones’s documentary, which is generally considered (incorrectly, Tweedy would like you to know in his book) the most revealing document about Wilco, Tweedy comes off as a little prickly, withholding, and slyly deliberate in what he chooses to share. It might seem like a lot—infamously, he lets the cameras follow him into the bathroom to film him vomit from his habitual migraines—but the closer you watch the more he recedes. “There is no sunken treasure,” he insists in one of the songs he performs in the film, “rumored to be wrapped inside my ribs, in a sea black with ink.”

New Knausgaard Interview @ NewYorker.com →

From a substantive new interview with Joshua Rothman:

I had felt for many, many years that the form of the novel, as I used it, created a distance from life. When I started to write about myself, that distance disappeared. If you write about your life, as it is to yourself, every mundane detail is somehow of interest—it doesn’t have to be motivated by plot or character. That was my only reason for writing about myself. It wasn’t because I found myself interesting, it wasn’t because I had experienced something I thought was important and worth sharing, it wasn’t because I couldn’t resist my narcissistic impulses. It was because it gave my writing a more direct access to the world around me. And then, at some point, I started to look at the main character—myself—as a kind of place where emotions, thoughts, and images passed through.