Category Archives: 50 Books for 2010

An archive of all posts from my 50 Books for 2010 blog (www.50booksfor2010.com).

#26: If You Follow Me

There’s plenty of internalizing taking place within the pages of Malena Watrous’ If You Follow Me. Some of it is explicit, and at other times implied. But it’s always there, lurking beneath the placid surface. If this is already starting to sound like a lifeless addition to the all-is-not-bliss-in-domestic-paradise genre, take a deeper look. In fact, all is not bliss here either — the rare worthwhile novel is — but the cast, a twenty-something lesbian couple, and the setting, rural Japan, help Watrous avoid fiction’s most egregious cliches.

Marina is a twenty-something recent wanderer who, on something suspiciously like a lark, decided to follow her lover to East Asia for a year of teaching abroad. Her father’s suicide, looming like an omnipresent monster in her recent past, was the catalyst that brought her and Carolyn together: they met in a bereavement group during senior year in college, where Marina mentally characterized her soon-to-be girlfriend as “tough and spiky, with a rod in her tongue and buzzed hair that moved through a Kool-Aid spectrum.” Carolyn, for her part, was still grieving her loss, at age twelve, of her mother to cancer, and had been attending the bereavement group since freshman year.

The two were an unlikely pair to begin with; a year of living abroad together, then, was a monumental risk. And yet, Marina remembers, “when she asked if I’d consider moving to Japan with her, I didn’t hesitate before saying yes…I couldn’t go back to San Francisco,” with all its childhood memories of her fading father and the stark reality of a mother trying desperately to move on.

Marina’s sojourn in Japan is kicked off with a letter from her mentor, Hiroshi Miyoshi, a native son who has been handed the unfortunate task of keeping a close eye on the two Americans and facilitating their acclimation to Japanese social mores. Succumbing to bouts of self-consciousness, Miyoshi prefers to communicate disapproval of Marina’s (frequent and unintentional) breaches of etiquette through handwritten letters written in rudimentary English; these missives provide the bulk of the laughs in what is often a deeply introspective story.

Miyoshi’s inaugural letter scolds Marina on her ignorance of “gomi law,” that maddeningly esoteric set of rules governing trash disposal. “Dear Miss Marina how are you? I’m fine thank you. A reason for this letter is: recently you attempt to throw away battery and jar and some kind of mushroom spaghetti and so forth, all together in one bin. Please don’t try ‘it wasn’t me.’ We Japanese seldom eat  Gorgonzola cheese!”

Time passes. The clock ticks and tocks. First, there is Marina and Carolyn fighting. Then there is Joe, a cheeky British fellow and the only person in Japan who knows that his two female acquaintances are not just friends, but intimate as well. Throw in a minor television celebrity, a unique cast of small-town Japanese friends (notably Noriko and Keiko), and a shifting relationship with Miyoshi, and one can see that Marina is due for some noticeable life changes.

What those changes entail impacts different people in different ways. Some of these changes are gradual, and others more sudden. Frustratingly, many of them fail to grab the reader’s attention (at least mine) and hold it for the time necessary to make these metamorphoses feel significant. It is not so much that If You Follow Me is not a tale worth reading, but one gets the sense that it could have been shortened without much loss. Malena Watrous hits high marks for complexity, but mostly forgets the value of brevity.

Subway culture and the panhandler

I lived for nine years in Boston, Massachusetts. It is a town of crooked one-way streets, Irish bars, and, perhaps most ubiquitously, innumerable homeless people. Living in and amongst those same streets and watering holes, Boston’s displaced roam freely, their casual insouciance unperturbed by the occasional disapproving policeman or irritable bench neighbor. The city, while perhaps not embracing them, at least affords them a generous measure of nomadic self-determination, and for that reason Boston remains a favorite sanctuary for the housing-challenged.

This is not to say these hardy men and women are without want. When their cash flow devolves into a steady trickle downstream, our homeless friends take to the subway — the T, as it is known — and, in the spirit of of the First Amendment, brazenly wield their vocal chords to great effect in pursuit of, if not happiness itself, its closest approximation as embodied by a fast-food meal or a bottle of Jim Beam. This commonly takes the form of a bleating voice in which the plaintive tones of defeat can clearly be heard: “Can you spare some change?”

It is more a statement than a question, even as its last syllable hangs desperately in the air, an unresolved dissonance calling for resolution. The sincerity is as evident as the tact is lacking: money is needed. Whether for drugs or food, alcohol or medicine, we neither know nor care; they are here, among us, and the choice is ours. We toss a bill or two their way, or we do not. We look away, avert our eyes. We do not remember them, nor they us; strangers passing in the night, all.

New York’s subway system is home to investment bankers, Mexican accordion players, and apathetic Upper West Siders. Broadway houses the nation’s finest productions, but the real theater, unfolding in stuttered moments, performs for free somewhere between 96th Street and Park Place on the 2 line. Here the homeless traipse through subway cars, plying their craft as they wedge their way through the tired ranks of the gainfully employed.

The last time I shared a New York subway car with a panhandler, I felt as if I were listening to a sales pitch. I was. While a bit melodramatic for my taste, one cannot argue with the $2.25 price of admission. Words such as “interim” and “requisite” filled the air, as New Yorkers turned back to their New Yorker in silence. One is constantly under the impression of having seen this particular solicitor before, perhaps on the same train line. The pleas for money are theatrical (and thus memorable), recalling a failed actor blandly reciting lines that have long since lost all meaning. They inevitably begin with some variation of “I’m sorry, and I don’t mean to disturb you,” but of course they do. Trust has left the building, or at the very least the subway car, and empathy along with it. I do not drop money into the hat.

I’m not sure why Boston and New York diverge in this way, nor will I ever, most likely. It is merely one of the myriad aspects in which the compressed millions that comprise our modern cities coalesce into collective entities of their own. Somehow, these cities of random individuals gain distinctive, differentiated, holistic identities; somehow homeless culture becomes but one among countless mirrors reflecting these. Personally, I can respect the Bostonian directness, a challenge to the general public to lend a helping hand. I feel no such affinity for the New Yorker, who, borrowing the cadence of a stage voice and the persuasive technique of a politician, alienates me before completing a sentence. Like everything related to Boston and New York (especially as felt by a Bostonian), one of the two must be superior. Somewhere, a master panhandler is crafting the perfect pitch, and waiting for its debut in the city.

The midpoint recap

Twenty-five books down, twenty-five to go. (This excludes the two bonuses: xkcd and The Bro Code.) Right now I’m a little ahead of schedule but my pace is slowing, so the second half of the year will be interesting. I’m having nightmares about hunkering down in a dank basement, reading some horribly written novel, while the rest of the world celebrates New Year’s Eve. I’m determined not to let this happen. Finished by Christmas would be nice.

Anyway, since halfway point summaries (or retrospectives, or recaps) seem to work so well for sports seasons (e.g. the All-Star break report cards that always have baseball journalists salivating), I suppose it’s worth a try on a book blog, too. So without further ado, here are my thoughts on the first half of book-worming, 2010-style.

But first, some stats (in keeping with my love of baseball, of course). Leading off, my gender ratio was a bit lopsided: nineteen books written by men, and only six by women. The writers’ nationalities tell a similar story: eighteen Americans and seven of everyone else (only one nation, Great Britain, had multiple authors, with two). Fifteen books fell into the non-fiction category, with ten in fiction. All but four books were published in 2007 or later. Three books were under 200 pages, fifteen were between 200 and 300, five were between 300 and 400, and two were over 400 pages. In summary, the average book was a non-fiction work spanning 274 pages, published in 2008, and authored by an American male. (My girlfriend has ever so gently reminded me to include more women and authors of color in the second half; luckily for me, her English literature degree is, contrary to her lamentations, quite relevant when it comes time for book recommendations.)

And now, onto the 50BF2010 awards:

Best Non-Fiction Book: The Big Short, by Michael Lewis

When I reviewed The Big Short on April 18, I described it as a “very, very entertaining book.” Relative to the seven books I’ve read since then, this has only become even truer. This is not due to any shortcomings of those books as much as it is a further ringing endorsement of The Big Short. Michael Lewis takes an incredibly complex and arcane set of circumstances and transforms it into a suspenseful narrative with an uncomfortably ambiguous approach to morality. (Were his characters the good guys, or villains? I think it’s a bit of both.) His insider story of the outsiders who prophesied the coming Great Recession is almost beyond belief; but then, never more so than the financial collapse itself, which Lewis captures vividly with intimate portraits of the people who, after watching in shock as it unfolded, proceeded to cash in on the subsequent implosion. Most of the time I feel ambivalent about the term “must-read;” but if ever the expression had an appropriate usage, The Big Short undoubtedly qualifies.

Honorable mention: SuperFreakonomics, by Steven Levitt and Stephen Dubner; and Freefall, by Joseph Stiglitz

Best Fiction Book: The Dream Life of Sukhanov, by Olga Grushin

This story, of a Soviet art critic whose fragile political stature is threatened by the dawn of glasnost, is a delicately woven tale of the zeitgeist of the U.S.S.R. in the 1980s, and a brilliant depiction of one man’s struggle with self-identity in the face of previously unimaginable national transformation. Anatoly Pavlovich Sukhanov’s sojourns through his past and present gradually coalesce into one time-blurred journey, with surrealism as both its guide and genre, realism as its omnipresent companion, and metamorphosis as the destination. That Olga Grushin managed to pen this novel in a non-native tongue is a testament to the boundless nature of her literary imagination, and an apt metaphor for Sukhanov’s own disorientation in a world not his own.

Honorable mention: The Disappeared, by Kim Echlin; and The Informers, by Juan Gabriel Vásquez

Worst Non-Fiction Book: Reality Hunger, by David Shields

It’s officially filed under “Literary Criticism,” according to its ISBN categorization. But I remain unconvinced that Reality Hunger is actually anything of the sort, and even less so that it amounts to much more than self-aggrandizement. David Shields opens his book with epigraphs by Picasso, Walter Benjamin, and Graham Greene, and then proceeds, for the next 205 pages, to steal and plunder from authors, thinkers, and entertainers both near and far, past and present. The intention, he implies, is to revolutionize the commonly held platitudes that have defined and separated the worlds of fiction and non-fiction and, in the meantime, to decimate international standards of intellectual property rights. Why this is so urgent is never made entirely clear. To be fair, it is difficult to concoct a cogent argument out of 618 literary scraps from authors who, strangely enough, write their own material. But this is no deterrent to the inexorable Shields, whose campaign to throw open the doors to appropriation of others’ creativity fails to appreciate the very real line between ideas and their expression. His literary remix, unsurprisingly, dissolves into cognitive dissonance.

Dishonorable mention: The Flight of the Intellectuals, by Paul Berman; and The Orchid Thief, by Susan Orlean

Worst Fiction Book: The Ask, by Sam Lipsyte

Q: What do you get when you start with a disenchanted development officer, add in a newly rediscovered friendship with an old college buddy, and, for good measure, throw in a subplot involving his wife’s potential infidelity?

A: A terrible novel. One online reviewer noted, with a beautiful sense of irony, a bit of dialogue late in the book in which Milo, the book’s utterly forgettable antihero, asks a colleague, “…If I were the protagonist of a book or a movie, it would be hard to like me, to identify with me, right?” Her reply: “I would never read a book like that, Milo. I can’t think of anyone who would.” Well said. It seemed as if author Sam Lipsyte neglected to decide whether he was writing comedy or tragedy until, at the end, he eventually gave up and decided, rather arbitrarily, to stop writing. Fortunately, it was as good a point as any to stop reading.

Dishonorable mention: Family Album, by Penelope Lively

Onward march to the next twenty-five!

#25: Reality Hunger

I really need to stop reading manifestos. First it was The Communist Manifesto. Then, earlier this year, it was You Are Not a Gadget: A Manifesto, by Jaron Lanier. “Workers of the world, unite!” yielded to much ado about the “hive mind.” Like any manifesto, both were distinctly aware of their characterization as such; hence, the grandiose language and sweeping world vision. (I suppose Karl Marx’s received a bit more attention than Jaron Lanier’s, however.)

Reality Hunger: A Manifesto, by virtue of its self-descriptive subtitle, belongs to this same (decreasingly exclusive) club. However, David Shields, whose other books have titles like The Thing About Life Is That One Day You’ll Be Dead, hardly looks like a kindred spirit of the communist revolutionary or the cautious Internet pioneer (based on his photograph on the book’s back flap, at least). The bald and bespectacled author appears better suited for a dignified study of poetry, or perhaps as a caption writer for a nature-themed daily calendar.

Neither of these subjects is what Shields is interested in writing about, however. In what the author describes as “twenty-six chapters; 618 mini-sections,” a case is made for an emerging writing form. “An artistic movement, albeit an organic and as-yet-unstated one, is forming,” Shields writes. “What are its key components? A deliberate unartiness: ‘raw’ material, seemingly unprocessed, unfiltered, uncensored, and unprofessional.”

Or did Shields actually write this? Aha, he would reply, but that’s just the point: who cares? Each of these hundreds of fragmentary “mini-sections” operates as a unique thought, yet also as an integral part of the whole. What if section three were written by David Shields? Or what if it were David Mamet, or David Carr, or David Markson (all of whom are also quoted in Reality Hunger)? Does knowing the identity of the author — or, for that matter, evaluating the authenticity of the text itself — alter the experience of reading the work? And if so, is this for the better or the worse? In short, why the big fuss over intellectual property?

Well, for one, most writers struggle to scrape together the requisite means to make a living out of their dreams. When someone else comes along and irreverently plucks a quote here and a passage there wholesale, a drop in royalties is the result. This would appear to be an understandable reason for approximately 618 authors, speakers, and public figures to be very angry with David Shields. Thanks to the lawyers at Random House, however, the author was generously spared this fate. Lamenting the loss of a “freedom that writers from Montaigne to Burroughs took for granted,” Shields explains, in a brief note following the main text, that his publisher’s dutiful attorneys “determined that it was necessary for me to provide a complete list of citations,” but that readers may easily “restore this book to the form in which I intended it to be read” by cutting out these very citations with a pair of scissors.

“Reality cannot be copyrighted,” Shields declares. He is right, it cannot; but its various expressions can, and do, warrant legal protection. The author, in an online defense of his book, claims that “numerous bloggers appear to think I’m the anti-Christ because I don’t genuflect at the twin altars of the novel and intellectual property.” But I suspect theirs is merely a case of disenchantment, not stupefaction. The starving masses may be hungering for reality, but it is doubtful that a hardcover compendium of reprocessed ideas will provide the necessary protein. The last sentence of Reality Hunger reads, “Stop; don’t read any farther.” I’m assuming it was David Shields who wrote this line; regardless of the author, this advice would have been far more useful in the book’s earlier pages. Even reality hunger disappears when confronted with enough junk food.

#24: The Flight of the Intellectuals

In March 2009, Paul Berman sat down for an interview with Z Word, a self-described “editorially independent” project of the American Jewish Committee. Topics discussed included the recent Israeli invasion of Gaza and Berman’s thoughts on President Barack Obama’s track record in his first few months in office. In regards to the latter, Berman stated, “I’m enthused by Obama. And, in my enthusiasm, I find myself thinking: this election has been the most inspiring event in American history.”

These are unsurprising words, spoken as they were by a leftist writer. And yet they are key, I think, to uncovering one of the major errors Berman makes in his latest book, The Flight of the Intellectuals, which hit bookstores just over a month ago. To understand what Berman’s comment illustrates about the weaknesses in his own writings, it is necessary to revisit a rather notorious episode in Barack Obama’s presidential campaign.

As inevitably befalls every presidential candidate at some point, Obama fell victim to the occasional campaign gaffe (though he had fewer than most). Most notable among these blips was the Reverend Jeremiah Wright imbroglio. The president’s former pastor, in various comments and sermons, referred to the September 11 attacks as “America’s chickens…coming home to roost” and, during the course of an anti-government rant, proclaimed, “God damn America — that’s in the Bible — for killing innocent people. God damn America, for treating our citizens as less than human. God damn America, as long as she tries to act like she is God, and she is supreme.”

Initially, while repudiating Wright’s most politically dangerous stances, Obama refused to entirely abandon the pastor, arguing that “it’s as if we took the five dumbest things that I ever said or you ever said…in our lives and compressed them, and put them out there, you know, I think that people’s reaction would be understandably upset.” Later, after Obama had further distanced himself from the pastor, Wright was quoted by the Daily Press castigating the White House staff for preventing him from contacting the president: “Them Jews ain’t going to let him talk to me.” In the same interview he commented on the perceived influence of the American Israel Public Affairs Committee (AIPAC), a prominent Jewish lobbying organization, over Obama’s public stances, saying, “Ethnic cleansing is going on in Gaza. Ethnic cleansing (by) the Zionist is a sin and a crime against humanity, and they don’t want Barack talking like that because that’s anti-Israel.” Obama once again publicly rejected Wright’s inflammatory statements, this time with more severity: “[Reverend Wright’s comments] certainly don’t portray accurately my values and beliefs. And if Reverend Wright thinks that that’s political posturing, as he put it, then he doesn’t know me very well.”

And yet therein lay the problem: Wright did know Obama, and quite well, in fact. They had been friends, or at the very least acquaintances, since meeting in 1985 — a moment Obama described in his memoir, Dreams from My Father. In that same book, Obama fondly recalls a sermon in which Wright proclaimed, “It is this world…where white folks’ greed runs a world in need, apartheid in one hemisphere, apathy in another hemisphere…That’s the world!” (Obama titled his later, more famous, book, The Audacity of Hope, after a sermon delivered by the reverend.) The pastor had performed Barack and Michelle Obama’s marriage and their children’s baptisms, and the Obamas were members of his church. According to the Chicago Tribune, as recently as 2007, Obama said of Wright, “He’s…a sounding board for me to make sure that I am speaking as truthfully about what I believe as possible and that I’m not losing myself in some of the hype and hoopla and stress that’s involved in national politics.” In short, Wright was as much Barack Obama’s mentor and friend as he was his pastor.

Why does this matter? Or why, furthermore, do the forty-fourth president’s (very thin) ties to William Ayers, co-founder of the violent Weather Underground, matter? The answer, for many (though not all) rational observers, is that they do not. Barack Obama’s firm disavowal of their radical ideas and even, at times, the very people espousing them obviated the need for concern as to his own ideology. Since taking office, Obama’s decisions could be criticized (or defended) on a variety of fronts, but few would seriously argue that his policies reflect radical or racist beliefs.

Given Paul Berman’s own unequivocal enthusiasm for Barack Obama, it would seem clear that the Terror and Liberalism author understands this principle well. And yet he just as easily discards it when confronting the personage, and persona, of Muslim intellectual Tariq Ramadan. The Flight of the Intellectuals is, in essence, a 299-page crusade (and I do not use this word lightly) against a man that many consider a symbol of the future of moderate Islam.

As a disclaimer, I admit that, prior to reading Berman’s book, I knew nothing of Tariq Ramadan. I am thus unqualified to debate most finer points of substantive critiques of his ideology. Instead, I take issue with Paul Berman’s methodology. The Flight of the Intellectuals circumscribes, with lengthy digressions liberally scattered, a single feature article on Tariq Ramadan, written in 2007 by Dutch journalist Ian Buruma for The New York Times Magazine. From the outset of Berman’s book, it became readily apparent that generous assumptions and tenuous affiliations would happily substitute for logical proof of wrongdoing. Even before the end of the first chapter, Berman had already stated, curiously, “It is not obvious to me that Buruma…had read very much by Ramadan, nor that [Stéphanie Giry, who favorably reviewed a Ramadan book]…had read more than a single book, though she had met the man. As for Garton Ash [who wrote positively of Ramadan], he intimated…that he based his estimation of Ramadan on having heard him speak at Oxford, where Garton Ash and Ramadan have been colleagues — which suggests that Garton Ash may have read nothing at all.”

My initial reaction, having also previously read nothing by Paul Berman, was surprise at what seemed to me an illogical progression. A journalist who had worked alongside Ramadan and praised him in writing was unlikely to have read any of the latter man’s books? This, however, was merely the first volley in a prolonged onslaught of perplexing statements by Berman, who is either incapable of or disinterested in producing anything other than circumstantial evidence incriminating Ramadan as a dangerous radical. Just pages after his bizarre comments on Buruma, Giry, and Ash, Berman launched into a history of Hassan al-Banna, Ramadan’s grandfather and the Egyptian founder of the Muslim Brotherhood, in which he emphasized his ties to the Palestinian, pro-Nazi Grand Mufti of Jerusalem, Haj Amin al-Husseini. Then, immediately segueing into an account of Ramadan’s doctoral dissertation on al-Banna, which only passed after a second review (the committee felt it was too obsequious to his grandfather), Berman implies that Ramadan’s thesis was unworthy of academic recognition, writing, “Even then, his thesis barely passed — accepted without honors. The dispute…was an academic quarrel, but also more than academic — a dispute, ultimately, over the meaning of al-Banna’s Islamic renewal movement in the past and its legacy for today.”

The next sentence states, simply, “I have not read Ramadan’s thesis.” Berman quickly follows up by announcing that he has, however, read one of Ramadan’s books, The Roots of the Muslim Renewal, which includes (in Berman’s estimation) a 200-page “gusher of adulation” for Hassan al-Banna. “Does the portrait of al-Banna in The Roots of the Muslim Renewal resemble in any significant way Ramadan’s university dissertation? Then I can understand why the academic committee would have balked.” Unfortunately for his readers, Berman failed to conduct this most basic tenet of research, consulting the text itself, to actually evaluate its objectivity.

Interspersed throughout Berman’s dissection of Tariq Ramadan are frequent history lessons on Hassan al-Banna, his ties to Haj Amin al-Husseini, al-Husseini’s ties to the Nazis, and so on. These forays are usually followed by an abrupt and unannounced return to a discussion of Ramadan in the present day. As a writer, Berman has to know that the effect of juxtaposing these journeys into the past against portrayals of Tariq Ramadan today is to implicitly link the Muslim intellectual to far more extremist Islamists of yore. And yet he does not caution against subconsciously drawing these connecting lines; instead he facilitates the practice by continually jumping back and forth, establishing a mental footpath that ever expands with each round trip between Tariq Ramadan of today and Hassan al-Banna and his Nazi sympathizers of the past.

One of Berman’s favorite contemporary targets is Yusuf al-Qaradawi, a Muslim sheikh and author whose works Ramadan frequently cites. Al-Qaradawi’s speeches on Al Jazeera TV are unapologetically political; unfortunately, they have also been known to be anti-Semitic. “Throughout history, Allah has imposed upon the [Jews] people who would punish them for their corruption,” al-Qaradawi declared early last year. “The last punishment was carried out by Hitler. By means of all the things he did to them — even though they exaggerated this issue — he managed to put them in their place.” Berman makes great hay of al-Qaradawi’s virulent racism in an attempt to portray Ramadan as in league with him. Ramadan himself, in a disturbing essay, once singled out several Jewish intellectuals (and one other besides, whom he mistakenly identified as Jewish) for what he deemed a heavily biased support of Israel. Aside from that uncharacteristic moment, however, Ramadan has made himself clear in regards to his own stance on anti-Semitism. In 2005, he wrote, “In the name of their faith and their conscience, Muslims must take a clear position so that a pernicious atmosphere does not take hold in the Western countries. Nothing in Islam can legitimize xenophobia or the rejection of a human being due to his/her religious creed or ethnicity. One must say unequivocally, with force, that anti-Semitism is unacceptable and indefensible.” 

Berman, undeterred, presses on. He lambasts Ramadan for downplaying or bypassing his grandfather’s unsavory contemporaries, as if by neglecting to detail every last particle of al-Banna’s transgressions, Ramadan himself is implicated in his ancestor’s sins. Berman also takes issue with Ramadan’s claim that al-Banna and Sayyid Qutb, the much more famous — and more radical — Muslim thinker, did not know each other, insinuating that this was merely semantics on Ramadan’s part; al-Banna’s assassination, Berman insists, “interrupted a developing mutual interest. It stands to reason that, but for the assassination, Qutb and al-Banna would have ended up comrades and, at least, acquaintances.” Strangely, Berman considers pure speculation a preferable alternative to stated fact, a tendency he exhibits throughout The Flight of the Intellectuals. 

This is where the lesson of Barack Obama and Reverend Jeremiah Wright comes into play. Paul Berman was somehow able to disregard decades of friendship between an anti-Semitic, politically radical minister and the future leader of the free world, based largely on public denunciations made (only reluctantly) by Obama. And yet Berman refuses to extend to Tariq Ramadan the same benefit of the doubt; “Ramadan worships Qaradawi,” he says. Pankaj Mishra, in the June 7 edition of The New Yorker, aptly captures the absurdity of Berman’s use of that verb, writing, “But Berman reads volumes into Ramadan’s silences and pursues him with inquisitorial zeal…He says that Ramadan not just ‘admires’ but ‘worships’ Qaradawi, although the citations of Ramadan that he produces to illustrate this claim reveal nothing more fervent than the standard lexicon of scholarly attribution.” 

In his desperate attempts to equate the beliefs of others to those of Tariq Ramadan, Paul Berman failed to notice his own inconsistencies. Guilt by affiliation cannot be applied randomly. If Ramadan’s “scholarly attribution” of Yusuf al-Qaradawi, as viewed through Berman’s prejudicial prism, constitutes “worship,” then certainly Barack Obama, who for years counted a racist and anti-American radical among his friends, is a dangerous subversive unfit to govern the United States. And Obama’s is only one saga among countless others, in which a prominent public figure is discovered to have had some connection or even friendship with unsavory individuals. It is not that these linkages should be ignored, but neither should they be perceived as all-encompassing indictments of one’s character.

And yet, incomprehensibly, Berman views Ramadan’s acquaintances as sufficient damning evidence of the intellectual’s innate radicalism. At times, Berman’s tone — which, though difficult to pin down, effectively hovers between academic and journalistic — betrays a callous distaste not only for Ramadan, but for a Muslim audience overall. In describing Ramadan’s biography of the Prophet Muhammad, Berman writes, “The Prophet himself is presented as a nice person. Muhammad adores his first wife: ‘He loved her so much.’ Also his other wives.” Elsewhere, in delineating Ramadan’s views on terrorism, Berman lists four primary points, and then adds, “And perhaps his message contains yet another element, which is not hard to detect in some of his writings, to the effect that: 5) who are you to question Tariq Ramadan about terrorism? Are you a racist? A notorious Zionist? An enemy of Islam? And Hassan al-Banna was the greatest figure of the last one hundred fifty years, and Said Ramadan [Tariq’s father] was a pious and heroic Muslim, and long live Sheikh Qaradawi, the mufti of martyrdom operations!” This is shameful writing, and even worse investigative work. At this point, it probably goes without saying that Berman makes no attempt to identify which of “some of his writings” demonstrate such hysterical sentiments. As Dwight Garner of The New York Times noted, “[Paul Berman is] self-congratulatory about his coups of reading and synthesis, his turning up of important details in other people’s footnotes. Yet his own book has no foot- or endnotes at all.”

In fact, Berman’s inexplicably laserlike antipathy towards Ramadan begs the question of what motivations may be lurking behind his own pen. Of especial importance to Berman are unresolved questions as to Ramadan’s comportment towards Jewish peoples. This is understandable, given militant Islamism’s tendency to cast its political struggles with Israel in an ethnic (and thus, often racist) light. But Ramadan is no militant; and while he is firmly anti-Zionist, with the glaring exception of his essay calling out Jewish thinkers, Ramadan appears to see this label as a political statement against Israeli policies towards Arabs, not a racial statement against the Jewish people themselves. To this end, he has written, “The respect that we have towards Judaism should not be subject to suspicion once we denounce the unjust policies of the state of Israel.” 

But let us return to Paul Berman. Why is he so eager to implicate Ramadan as a member of the anti-Semitic Islamist right-wing? Perhaps this is due to his own boundaries with regards to criticism of the state of Israel. To be clear, Berman has explicitly condemned Israeli actions at times (e.g. “I’ve never had any patience for West Bank settlements,” he says at one point; elsewhere, “The Israelis have committed all kinds of crimes and have done all kinds of terrible things. And when the Israelis have done something terrible we should condemn it. I condemn it.”), but he is not so keen on others doing the same; and this reluctance extends to many varieties of criticism. In his interview with Z Word, Berman commented extensively on the Gaza incursion that winter and, in the process, revealed a paradigm of thinking that was notably sympathetic to the Israeli government, at a time when its actions were the recipient of near-universal condemnation. 

Berman was asked, “Do you think Israel used disproportionate force against Hamas?” Not only did he refuse to answer the question directly (confusingly, he claimed it represented “something of a logical bind”), he then launched into a long tangent about Israeli policies that ultimately put the onus on the nation’s enemies for all of its foreign policy crises: “An Iran without a nuclear program would be in no danger of Israeli attack. Here is an impending war that rests on a single variable. Why not alter the variable? Equally obvious: Israel is not going to launch a war against any of the groups on its own borders that remain at peace. Why not do everything possible to disarm those groups?” Then, foreshadowing the embrace of assumptive reasoning that would become a staple of The Flight of the Intellectuals, Berman attempted to link a century-old, notorious anti-Semitic forgery with a contemporary study by respected academics. “The Protocols of the Elders of Zion is not a sophisticated document,” Berman states. “But Walt and Mearsheimer’s book ‘The Israel Lobby’ is (in some people’s view) a sophisticated document. And the sophisticated document makes the unsophisticated one seem like it is on to something.”

But perhaps most enlightening was Berman’s answer to the question, “Are you suggesting that human rights activists are now acting in the service of an antisemitic agenda?” He immediately refutes anti-Semitism as a possibility, but then proceeds to hew to the official Israeli state line on human rights organizations in general. “I do think that, in some of the human rights reports on Israeli military action in the past, you could see a kind of in-built analytic distortion. The human rights investigators work up analyses of what they ascertain to be facts; but their notion of facts excludes political motivations. And yet, if you ignore the political reasoning behind certain kinds of violent acts, you really cannot account for what has happened.” It would be interesting to discover what sort of jurisdiction human rights organizations could be expected to exert if politics were taken out of the equation. The Darfur conflict, after all, is a civil war and, as such, is subject to the same sort of “political motivations” that, in Berman’s rendering, preclude human rights groups from objective evaluations of facts — or not even facts, necessarily, but “analyses of what they ascertain to be facts,” which appears to be a euphemism for facts that make Paul Berman uncomfortable.

In light of Berman’s stated willingness to criticize Israel and yet his visible hesitance to actually do so when given an obvious platform, it is virtually impossible not to see his critique of Tariq Ramadan’s allegedly wobbly denunciation of terrorism in an ironic light. Of Ramadan, Berman writes (in The Flight of the Intellectuals): “1) Ramadan condemns terrorism. 2) He wants to understand terrorism, though not to justify it. 3) He understands terrorism so tenderly that he ends up justifying it. 4) He justifies it so thoroughly that he ends up defending it.” This is almost precisely the path Paul Berman takes in criticizing, but not quite criticizing, and then actually defending, Israel’s actions.

This is not to say that Tariq Ramadan does not espouse some rather disturbing views. In perhaps his most controversial moment, during a debate with Nicolas Sarkozy in 2003, he refused to completely reject the stoning of female adulterers, instead calling for a “moratorium” of the practice until a proper committee could be formed to discuss the practice. This is an absurd statement, even if (as is probably the case) Ramadan only said this in order not to lose credibility with the most conservative elements of his own constituency. At some point, firm stances must be taken, and the elimination of stoning, for any reason, is a logical place to start. That Ramadan took a pass instead is certainly worthy of Paul Berman’s withering denunciations.

Similarly, Berman’s frustration with Western intellectuals for failing to embrace Ayaan Hirsi Ali, a Somalian and former Muslim whose renunciation of Islam has proved uniquely polarizing, is entirely understandable. Of Ali, he angrily points out that “a more classic example of a persecuted dissident intellectual does not exist,” and to a great extent he is correct. He compiles a convincing case that the very same Western thinkers that admire Tariq Ramadan are remarkably unimpressed with Ayaan Hirsi Ali, perhaps due to their oversensitivity to allegations of Islamophobia. To Berman, their actions indicate that they consider an embrace of a man with possibly murky views on terrorism safer than a similar alliance with the militantly anti-Islamic Ali. (In a recent appearance on The Colbert Report, Ali explained, “In America, but also in Europe, you’re told, ‘Do not judge. If you judge, you are an Islamophobe, you are a racist.’ And I think we need to shed that inhibition. I judge. I would like us to judge. I would like us to say, ‘One religion is better than the other. One culture is better than the other. One idea is better than the other.'”) But here it would seem that Berman has made the fatal error of conflating Ali’s authenticity as a survivor of Islamism’s worst practices with her usefulness as a bridge connecting Muslims and the West.

Berman posits the idea that Westerners’ often instinctual welcoming of Ramadan, despite some of his questionable or even opaque beliefs, may be due to a phenomenon, studied by French writer Pascal Bruckner, termed “Third Worldism.” According to Berman, this paradigm amounts to artificially romanticizing foreign cultures. “…Under a Third Worldist influence,” he explains, “even the most brilliant of Western intellects had proved to be absurdly incapable of recognizing everyday people in faraway places as everyday people. It was as if, in gazing at faraway parts of the world, the Western intellectuals could hardly do anything more than blink, and fall into reveries. People in exotic parts of the world were deemed to be spiritually loftier than people near at hand. They were immune to greed. They were selfless. Intuitive, instead of analytic. Sexually more at ease, or even indifferent to sexual urges. Capable of sagacious insights not accessible to the rigid and inhibited Western mind. Materially poor, but morally wealthy…They were Noble Savages. Fantasies, in short.”

While the theory is worth exploring in certain contexts, the same is not true in the case of Tariq Ramadan. Nothing particularly otherworldly seems to have been attributed to him; indeed, if anything, it is Paul Berman who, in his indignant state, appears to have transformed Ramadan into a godlike caricature, complete with seductive charm and guile.

Pankaj Mishra, in her review of The Flight of the Intellectuals for The New Yorker, aptly notes that, for all his righteous anger, Berman manages only to prove that “a Muslim with a political subjectivity shaped by decades of imperial conquest, humiliation, and postcolonial failure does not share the world view of a liberal from Brooklyn.” That Paul Berman has labored so painstakingly towards such a pedestrian end says much about the Western author, and very little about the Muslim intellectual.

#23: The Living Constitution

I was first made aware of David A. Strauss’ The Living Constitution via a Stanley Fish column on the New York Times web site. Titled “Why Bother With the Constitution?,” Fish’s blog post for May 10 dovetailed Supreme Court nominee Elena Kagan’s impending confirmation process with the fundamental constitutional questions raised by Strauss in his 139-page book.

Professor Fish’s reaction to The Living Constitution is best described as righteous indignation. To some of Strauss’ statements he retorts, “This is simply wrong.” To others, with considerable consternation, “This is an amazing statement.” Towards the end he proclaims that “the incoherence of what Strauss is urging is spectacularly displayed in a single sentence. Given the importance of common ground, ‘it makes sense,’ he says, ‘to adhere to the text even while disregarding the framers’ intentions.'”

So what exactly is going on here? Clearly something that Strauss is advocating, or even simply implying, is rather disagreeable to Mr. Fish. The former’s thesis is described (on the book’s front flap) as a defense of “the living Constitution…a common law approach to the Constitution, rooted in the written document but also based on precedent. Each generation has contributed precedents that guide and confine judicial rulings, yet allow us to meet the demands of today, not force us to follow the commands of the long-dead Founders.” Or, as Stanley Fish would have it, “Why is Strauss trying to take the Constitution out of the constitutional interpretation loop? Because he wants to liberate us from it as a constraint.”

Not exactly. I don’t get the impression Strauss intended to relegate the written Constitution to window dressing. Nevertheless, Fish is correct in noting that the The Living Constitution makes some bold claims as to the document’s role in contemporary jurisprudence. In large part, the book is a crusade against “originalism,” the judicial philosophy espoused most visibly by Supreme Court justices Antonin Scalia and Clarence Thomas. According to the originalist line of thinking as delineated by Strauss, “when we give meanings to the words of the Constitution, we should use the meanings that the people who adopted those constitutional provisions would have assigned…It is impermissible — it’s a kind of cheating, really — to take the words of the Constitution and give those words a meaning that differs from the understandings of the people who were responsible for including those words in the Constitution in the first place.”

The obvious counterpoint is, of course, the question of what to do in the majority of scenarios in which the Founding Fathers set forth no explicit guidelines (what exactly constitutes “cruel and unusual punishment?”), could not possibly have foreseen the issues (privacy on the Internet), or espoused views that are no longer acceptable in modern society (slavery). Acknowledging these obstacles, Strauss contends that they render originalism useless as a judicial philosophy. (In a section he headlined “The Originalists’ America,” Strauss remarks that “racial segregation of public schools would be constitutional,” “the government would be free to discriminate against women,” “the Bill of Rights would not apply to the states,” and so on.)

In titling his book The Living Constitution, he follows a long (albeit controversial, like nearly everything else related to jurisprudence) tradition of adhering to a more flexible view of the Constitution. But then he takes matters a step further. “It is the unusual case,” Strauss notes, “in which the original understandings get much attention.” In Strauss’ estimation, not only is the Constitution necessarily mutable to fit the needs of a dynamic society, in a way it is actually irrelevant to modern “constitutional” law itself. This is because of what he terms the “common law” approach: historically, “the law was a particular set of customs, and it emerged in the way that customs often emerge in a society…It can develop over time, not at a single moment; it can be the evolutionary product of many people, in many generations.”

In contemporary American law, this series of ever-shifting customs takes the form of precedent. Past judges’ rulings are considered the foundation upon which future verdicts are rendered; thus, Strauss claims, this methodology avoids both the impracticalities of originalism and the dangers of judicial overreach inherent to the dominant view of “living Constitutionalism,” in which activist judges are free to bend the law to their liking at will.

In reality, however, what the author deems an alternative approach to mainstream modes of thought is not entirely groundbreaking. At its simplest, Strauss’ thesis is simply a reassurance that living Constitutionalism works, that it does restrain judges from arbitrary decision-making. Where it differs, however, is in his attitude toward the actual text of the Constitution. To Strauss, the lip service that justices pay to the sacred text in their judicial opinions is just that: lip service. In actuality, he argues, current legal interpretation has so completely evolved and transformed over the years that the written Constitution itself has lost its germaneness to today’s legal wrangling. Quoting Thomas Jefferson, who wrote that “the earth belongs…to the living,” Strauss maintains that the Constitution, restrained as it is by the chains of centuries-old thinking, is an insufficient substitute for judicial precedent. And yet by forcing judges to formulate constitutional justifications for their every ruling — however tenuous the connection may be — living Constitutionalism, in most cases, prevents the worst variants of judicial activism. (Of course, depending on one’s particular ideological affiliations and the results of any given trial, this may or may not always be readily apparent.)

Stanley Fish, meanwhile, is having none of this. “You don’t interpret a text by looking for meanings people would find agreeable,” he writes. “You interpret a text by determining, or at least trying to determine, what meanings the creator(s) had in mind; and the possibility that the meanings you settle on are not ones most people would want to hear is beside the interpretive point.” He then angrily concludes: “If this is what the ‘living Constitution’ is — a Constitution produced and reproduced by serial acts of infidelity — I hereby cast a vote for the real one.” That Fish and Strauss cannot even agree on what the “real” Constitution is provides a worthy bellwether of the political whirlwind that is sure to accompany Elena Kagan into her much-anticipated confirmation hearings.

Bonus #2: The Bro Code

I’m quite sure Barney Stinson didn’t actually write The Bro Code. For one, any time a book’s authorship is attributed to someone with someone else — in this case, “Barney Stinson with Matt Kuhn” — generally the name following the “with” did the actual writing for the ostensibly overly busy and self-absorbed person whose name comes first.

Also, Barney Stinson isn’t a real person. Or I suppose that depends on how one defines “real.” As a regular character on the CBS sitcom How I Met Your Mother, Barney (played to ironic perfection by Neil Patrick Harris) has one thing on his mind. OK, two. The second is laser tag. The first, though, is sex. With women. (I make this distinction only because Harris is openly gay. Sometimes I think this fact alone makes the process of watching him portray a womanizing bachelor whose sexual exploits number in the three digits at least twice as funny.)

Anyway, because the business of female-catching is a complex one, a set of rules was deemed necessary. By whom, you ask? Well, by the geniuses in the marketing department of CBS, obviously. Fortunately, The Bro Code — which the author modestly describes as a “compendium of knowledge” — lives up to its billing. The code itself resembles the Ten Commandments in form, but in fact contains one hundred and fifty articles and ten amendments. These amendments, despite recalling Founding Fathers and their ilk, bear no resemblance whatsoever to that Bill of Rights; the only quartering of soldiers allowed in The Bro Code would likely involve a booty call and an entirely ill-fitting Army uniform.

Fortunately, Barney allows his readers some breathing room before delving straight into the code itself. In the introduction, he lays the foundation for his profound ruminations: “It is my hope that, with a better understanding of the Bro Code, Bros the world over can put aside their differences and strengthen the bonds of brotherhood. It is then, and only then, that we might work together as one to accomplish perhaps the most important challenge society faces — getting laid.” Next is “What is a Bro?” This section consists of a brief Q&A (Q: “What is a Bro? A: “A Bro is a person who would give you the shirt off his back when he doesn’t want to wear it anymore…”); apparently three questions was the limit. The other two were “Who is your Bro?” (who is my neighbor, anyone?) and “Can only dudes be Bros?” (The answers: many people, and no.) Finally, the “Brocabulary” and “Origin” (“lacking an agreed-upon set of social principles, Cain killed Abel and committed history’s first Broicide”) round out the opening salvo in a tour de force of masculinity.

The articles themselves are quite straightforward. From Article 1, “Bros before ho’s,” to Article 150, “No sex with your Bro’s ex,” Barney Stinson (with Matt Kuhn) means business. Article 47: “A Bro never wears pink. Not even in Europe.” Article 96: “Bros shall go camping once a year, or at least attempt to start a fire.” Article 118: “When a Bro is with his Bros, he is not a vegetarian.” These and many others make it clear that being a man is clearly not sufficient (nor even necessary) to being a Bro. Membership in the club of Bros requires a special kind of commitment (no, not that kind of commitment), a healthy dosage of machismo, and a general aversion to expressions of feeling that don’t involve a new HD TV or high-end sports car. But don’t let these traits fool you. Altruism is still at the core of The Bro Code. Case in point: Article 80, which states, “A Bro shall make every effort to aid another Bro in riding the tricycle, short of completing the tricycle himself.” Then again, I don’t think he’s referring to the childhood pedaling device.

#22: The Dream Life of Sukhanov

It had been awhile since I’d read a Russian novel. In fact, I believe the last such book I’d read until now was Invitation to a Beheading by Vladimir Nabokov. Even after having read only a scant few of the major works of Dostoevsky and Tolstoy, I suppose I still should have realized that not all Russian books — or Russian authors, for that matter — are alike. And yet somehow I was persuaded by the name Olga Grushin and the intriguing title of her book, The Dream Life of Sukhanov, into presuming literary greatness.

As it turns out, not all stereotypes are inaccurate. Beautiful novels are as Russian as vodka consumption and chess. But where the last two are respectively vulgar or elite, the Russian novel is a format accessible to all, at least to those for whom 700-page sagas are not too forbidding. Grushin’s is no different (except considerably shorter). As several reviewers have noted, her writing does contain a slight foreign twang, as when she uses overly lengthy strings of adjectives to describe mundane settings. But her English is considerably better than my Russian, so judge I shall not.

The Dream Life of Sukhanov opens with the the protagonist and sometime antihero, Anatoly Pavlovich Sukhanov, arriving with his wife, Nina, at a birthday celebration for a renowned Soviet painter named Pyotr Alekseevich Malenin. (Do not fear an endless litany of names for each person; either Grushin has graciously spared her anglophone readers the consternation of rote name memorization, or I have subconsciously grown accustomed to the practice. And I’m quite confident it’s not the latter.) Malinin is a product of the Soviet machine, an “artist” whose works traffic in ideological and political cliche, stripped of their creative meaning even as they enjoy the public notoriety afforded by an official stamp of approval.

Malinin is also Nina’s father. Sukhanov, while privately musing that “the main quality uniting all [of Malinin’s] works…was the inherent ease with which they slid into oblivion the moment one’s back was turned,” was nevertheless duty-bound to pay the man his patriotic dues. Anyway, as editor in chief of Art of the World, the nation’s (and thus the state-approved) premier art magazine, Sukhanov was in no position to evaluate the integrity of others’ choices.

What he cannot stop himself from doing, however, is reassessing his own decisions, ad nauseum. As Sukhanov constantly travels in thought from the present to his past, the narrative voice switches from third to first. He is once again a small child, then a young man in love with both art and his future wife. Surrealism is his passion, but the Kruschev Thaw all too soon evaporated and, with it, the sacred luxury of maintaining artistic creativity without forfeiting all professional (and certainly political) ambition. Sukhanov confronted a life-altering decision: to rebel, or choose the safety of the ideological mainstream.

Choosing the latter, Sukhanov eventually soared to career success. When the time came, however, he was unable or unwilling to comprehend the realities of glasnost and perestroika, even as they rendered his suppressive voice cartoonish and his fears of a crackdown anachronistic. When a student journalist accosts him at Malinin’s birthday event, demanding that he acknowledge the innate dishonesty in the great man’s paintings, Sukhanov condescendingly responds, “A piece of friendly advice…Those artistic ideas of yours, I wouldn’t advertise them so openly if I were you — you never know who might hear you.” To which she replies, presciently, “I don’t care who hears me…The times are changing.”

The Dream Life of Sukhanov, in chronicling a unique world event — the twilight of the Soviet era — evokes a surrealist universe of its own, neatly meshing with the artistic chaos of the genre that first captured Sukhanov’s heart as a child. Olga Grushin, Russian by birth and now American via naturalization, has experienced first-hand the decline of Russian communism, both from within and without the country; and this personal touch lends her already sterling writing an entirely believable hue. Sukhanov as a character is difficult to be admired, and yet a decent helping of contextual pity is always present nonetheless. Upon hearing (but not heeding) the student’s retort about changing times, Sukhanov concludes the terse conversation: “The times are always changing, my dear Lida…But it would serve you well to remember that certain things always stay the same.” In the Union of Soviet Socialist Republics of 1985, those “certain things” were nonexistent. For Sukhanov, then, as for the rest of the country and the world at large, the only question was whether to accept the inevitable.

Music to my ears

This is a book blog. I know that. But, as with the Red Sox, Google Buzz, and, yes, the Red Sox again, from time to time my entries have reflected a certain distractible sensibility. (This is a nice way of saying it’s hard for me to stay on point – one of many reasons I am relegated to Internet Siberia and not your local bookstore’s display windows.)

It really cannot be helped this time. And, showing signs of improvement, this one’s not about the Sox. No, I am devoting this post to fawning adulation. But first, the back story. For years now, I have been a fan of Icelandic post-rock band Sigur Rós. From the moment the first lilting twangs of “Njosnavelin” reached my ears in the movie Vanilla Sky, I knew I’d been hooked. Lead singer Jonsí’s (Jon Thor Birgisson) voice had an ethereal quality that is unmatched in music today. Soon I couldn’t get enough. As I began to discover more of their tracks, an entirely new universe unveiled itself before me. From the thumping rock anthem of “Glósóli” to the lighthearted giddiness of “Hoppipolla,” it was obvious the band had its pulse on a sound the rest of the world had yet to capture.

In a way, Sigur Rós changed my expectations of what good music should sound like. It most certainly raised the bar, but it wasn’t just that: Sigur Rós’ pieces – at times haunting, at times dreamy, but always unique – unfolded like a canvas, evoking an almost physical reaction, something previously unknown to my uncultured ears. (Keep in mind, my favorite song at the time was Nickelback’s “How You Remind Me.”) Although it took time, my love of Sigur Rós gradually led to appreciation of other bands who refused to be bound by the vagaries and expectations of pop culture. Most notable among these was Radiohead, whose leader Thom Yorke exhibited, albeit with more swaggering panache, the same spirit of musical rebellion embodied by Jonsí. (In what is perhaps the most compelling evidence against apocalyptic prophesies, the two bands once toured together without precipitating the universe’s explosion – somehow avoiding death by musical nirvana, so to speak.)

Fast forward to 2010. Jonsí had announced a world tour to promote his new album, Go. I purchased tickets for a New York show at Terminal 5 as soon as they went on sale. Last year, Jonsí had released an instrumental record, named Riceboy Sleeps, with his boyfriend; and embarrassingly, I didn’t realize until the concert this month that he’d compiled a new album since then. So imagine my surprise when Jonsí took to the stage and began performing “Hengilas,” “Animal Arithmetic,” “Tornado,” and the like.

I went home and immediately purchased the entire album on iTunes and have since listened to it incessantly. (My valiant college housemates can attest to my inability to diversify my playlist: when I discovered a new song, I would play it ad nauseum until, inevitably, even I grew sick of it.) But before I even get to that part, allow me to describe the concert itself. The set was designed to look like an old museum. Large panes of windows towered behind the band, on which projections of animals in the wild (the concert heavily utilized a nature motif) lent an epic quality to the accompanying music. I agree with the online commenter who stated that it felt like a film to which Jonsí was performing the accompanying soundtrack. The light show (and the entire production, for that matter) made it obvious that Jonsí intended to continue the creativity displayed at Sigur Rós’ live performances. (I had attended one of their concerts in Chicago in September 2008 and was equally impressed by the scale of the production.) In the most grandiose moment of the concert, house lightning bombarded the stage, then faded to a deer being chased by a wolf-like predator through dense forest, as Jonsí’s otherworldly falsetto rang out in “Kolnidur.”

Now, for the music itself: Go is a beautiful album. Because it is Jonsí’s voice on all the tracks, shades of Sigur Rós may initially sneak in, but the similarities are less real than imagined. Jonsí strikes out on his own path on this one, even if his musical decisions are clearly influenced by his prior works with the band. In arguably the best song on the album, “Hengilas,” Jonsí, singing in Icelandic and accompanied by an ominous ambient chord progression, evokes a deep melancholy. A repetitive piano theme in “Tornado” yields to booming percussion as Jonsí, soaring high above the melody, sings, “You flow through the inside/you kill everything through/you kill from the inside/you’ll, you’ll learn to know.”

The most well-known track on Go is “Boy Lilikoi.” Jonsí, in the chorus, urges his listeners to “use your life, the world goes and flutters by.” I’m trying, but his musical ingenuity has kept headphones glued to my ears. Flutter on, world.

#21: The Orchid Thief

There is an inherent danger in adapting any book into a feature-length film. This is doubly true when the book’s subject is flowers. So when Charlie Kaufman transformed Susan Orlean’s The Orchid Thief: A True Story of Beauty and Obsession into a screenplay (and, eventually, into a film directed by Spike Jonze), naysayers had plenty of reason to be skeptical. That movies rarely live up to the books on which they are based is one of the most pervasive truisms in both literature and film; but where tradition dictated one trajectory, Kaufman took the road less traveled.

2002’s Adaptation was, alternately, a narcissistic endeavor of self-absorption by a screenwriter who failed both to appreciate the book’s subject matter and translate it into a compelling narrative, or a revelatory piece of meta-fiction, in which the film itself appears to be an unfolding work in progress even as the viewer watches it. Middle ground is scarce when it comes to Adaptation (and, more generally, Charlie Kaufman as a creative artist); it may be revered or loathed, but rarely dismissed.

Notwithstanding the ubiquitous axioms, I never believed the book would live up to this particular movie. And well before I had actually finished reading The Orchid Thief, it was quite clear that comparing the two is a near impossibility. Adaptation is as much concerned with orchids as The Orchid Thief is with, well, its adaptation, even though John Laroche, the thief of the book’s title, plays a major role in the movie as well. Nevertheless, it must be stated that, bucking historical trends, the movie beats the book.

It is unclear why someone thought it would be a good idea to turn a meandering reflection on Florida, Seminole Native Americans, eccentric white men with loose teeth, and a shared passion for orchids — hunting orchids, buying orchids, selling orchids, naming orchids, growing orchids, cloning orchids — into a 114-minute movie. Contemporary cinema tends to adhere to narrative arcs, comprehensible characters, and plausible events (at least within the context of the film’s universe, whether that be modern-day New York or a galaxy far, far away). What it generally shies away from are stories with no real ending and whose meatiest content is reserved for fastidious descriptions of orchid flowers and lengthy digressions into the history of their commercialization.

In fact, what Kaufman nobly managed to do, regardless of one’s feelings on his method of arriving at his destination, was extract the one essential aspect of Orlean’s book and turn it into the overriding theme of his screenplay. He prefers to think of it as evolution or adaptation; but more simply, The Orchid Thief is about passion. Orlean writes in the first person, noting early on that Laroche “is quite an unusual person. He is also the most moral amoral person I’ve ever known.” The author peppers her accounts with seemingly random tidbits, as when she notes that “there are more golf courses per person in Naples than anywhere else in the world,” a piece of trivia ostensibly thrown in precisely because she had mentioned the city. Little comments like this are scattered in bunches throughout the book, and many seem superfluous or, at the very least, unnecessarily detailed. Without them, The Orchid Thief would be a third of its actual length, but somehow one gets the feeling it would fail to retain its substance in their absence.

What, then, is its substance? Facially, The Orchid Thief is about a man accused of stealing orchids from federally protected land. More broadly, however, his is a parable of the shape that passions can take and the way in which virtually anything can serve as a muse for a perfectly suited person. Where it gets bogged down is in the essay-length forays into the history of orchids as commodities, needlessly expansive depictions of strands of conversation at orchid expositions, and other similarly elongated tales that seem gratuitous, although not necessarily incongruous in the context of the book as a whole. This is not to say that many parts of The Orchid Thief were not fascinating, because they were. However, while Charlie Kaufman quickly recognized that his screenplay would have to forfeit faithfulness to the content in favor of thematic fidelity, Susan Orlean appears to have missed a similar message in adapting the stories she lived and heard to the written page. Both works are flawed tributes to their predecessors: Kaufman plays God with facts, and Orlean refuses to discriminate her numerous segments for relevance. But if perfection is unattainable, one may as well be entertained, and the prize in that category goes to Adaptation, not The Orchid Thief.