Highbrow Personal Praise and Description

Sophisticated eviscerations are always fun to read (the art of the take-down), but how about when one intellectual praises another? Or how about when a person tries to capture the essence of a smart, accomplished person in a paragraph? A few choice selections from recent readings.

Here’s Michael Kinsley praising Christopher Hitchens:

Hitchens is the bohemian and the swell, the dashing foreign correspondent, the painstaking literary critic and the intellectual engagé. He charms Washington hostesses but will set off a stink bomb in the salon if the opportunity presents itself.

His conversation sparkles, not quite effortlessly, and if he is a bit too quick to resort to French in search of le mot juste, his jewels of erudition, though flashy, are real….

His enemies would like to believe he is a fraud. But he isn’t, as the very existence of his many enemies tends to prove. He is self-styled, to be sure, but no more so than many others in Washington — or even in New York or London — who are not nearly as good at it. He is a principled dissolute, with the courage of his dissolution: he enjoys smoking and drinking, and not just the reputation for smoking and drinking — although he enjoys that too. And through it all he is productive to an extent that seems like cheating: twenty-three books, pamphlets, collections, and collaborations so far; a long and often heavily-researched column every month in Vanity Fair; frequent fusillades in Slate and elsewhere; and speeches, debates, and other public spectacles whenever offered.

The biggest strategic challenge for a career like this is to remain interesting, and the easiest tactic for doing that is surprise. If they expect you to say X, you say minus X.

Consistency is foolish, as the man said. (Didn’t he?) Under the unwritten and somewhat eccentric rules of American public discourse, a statement that contradicts everything you have ever said before is considered for that reason to be especially sincere, courageous, and dependable.

Here’s Joseph Epstein describing John D. Rockefeller in the book Ambition, which I love for its clarity:

He was cautious but courageous — a careful plunger. He took on loans of such size as to make his early partners tremble…. He had no known distractions. He found adventure in business, spiritual nourishment in his church, social life among his family. His life was organized for success. He tended to give off a somewhat chilling effect on people who met him. He commanded complete calm in crisis. He planned everything eight or nine moves ahead. He had the mind of a first-rate chess player: analytical, concentrated, monomaniacal. Of his inner life very little is known. Possibly he had none.

Here’s Epstein on Mark Twain, the two final sentences are telling:

Mark Twain, the Lincoln of our literature, as William Dean Howells called him, landed not in the White House but in a white suit. He was the first American writer to attain national celebrity, to be everywhere read and recognized and to turn a big buck off literature, and the white suit was part of his act. He it was who affixed the great label Gilded Age to the time in which he flourished, and he not only labled it but lived it. He was brilliant at marketing, his product being himself, often first-class goods. But he was not much at detail. With one eye on literature and one eye on business, he developed a cross-eyed talent. To excoritate your time yet revel in its luxuries, to proclaim the virtues of the simple life yet complicate your own life beyond imagining — you can’t have it both ways, but neither can you blame a man for trying. Mark Twain tried, and failed.

Inspirational Figures, and Adam Gopnik on John Updike

Finding inspiration in other people is important but too often we look for this solely in the astronomically successful / famous / gifted.

While Steve Jobs may be an inspiration to some entrepreneurs or designers, I believe that his singular brilliance and one-of-a-kind approach makes the power of his example inspirational in only an abstract, limited sense. At times the mind-blowingly impressive people who go down in the history books can be anti-inspiring inasmuch as you (rightly or wrongly) attribute some of their success to natural talent, which — as you compare their natural talent to your own — makes you feel small and inadequate and hopeless.

The more actionable inspirational figures to me are 10-15 years ahead of me in life. Their lives I admire but also see within the realm of my own possibility if I work hard, keep learning, and get a few breaks along the way. And they’re not overly famous; they’re accessible.

The great American man-of-letters John Updike died recently, and he was surely in the former category of inspirational figures: someone who inspired me in the abstract sense but seemed so superhuman in his observational abilities, for example, that I walked away from reading him usually feeling down-on-my-genetic-lottery-luck rather than eager to take my own pass at arranging words into sentences.

But this doesn’t mean you ignore the John Updikes or Steve Jobses, of course. It just means you should supplement their wondrous examples with inspirational role models within reach.

Perhaps the supremely erudite Adam Gopnik fits that second category for me. I’m not saying I’m on a trajectory to ever attain his level of worldliness or craftsmanship when it comes to writing, but it seems at least imaginable in a way Updike never was.

Last night Adam Gopnik was on Charlie Rose eulogizing John Updike. Here’s the clip. The whole thing is worthwhile, but if you’re short on time watch from minutes 17 to 25 and tell me if you’ve seen a man talk about a topic with such a winning combination of eloquence, authority, friendliness, and genuine passion.

Here’s Gopnik’s very worthwhile written essay on Updike in the latest New Yorker. Here’s the somewhat famous David Foster Wallace review of Updike in 1997 where he refers to Updike as a “penis with a thesaurus.” Here’s Lee Siegel’s recent defense of Updike from Wallace and others.

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On the News Hour, Jim Lehrer interviewed Michigan prof and novelist Nicholas Delbanco about Updike. There’s this bizarre and interesting exchange near the end. Delbanco spoke warmly of Updike the whole way, and then Lehrer pops a question rarely asked about a person.

JIM LEHRER: Was he pleasant?

NICHOLAS DELBANCO: He was a tricky man. He wasn’t — he was very affable, very courtly, but there was always a fist within that glove, I thought, and once or twice I saw him use it.

A State of Tolerable Vapidity Overlaid with Entertainment

A wonderfully evocative character description:

In a sense, Harper (dressed in “Gap casuals”) stands for the hip, knowing, self-conscious, weary, ironied-out, so-like-over-it-and-two-steps-ahead-of-it West, whose empty, hedonistic way of living once plagued Rose. As a restaurateur, he “did nothing extraordinary, ran the business, watched TV, read the newspaper, surfed the Web, bought a new coat every now and then, dated women — black, brown, white — consumed pornography, smoked, met friends for dinner, dreamed, honed anecdotes, got minor ailments.” He experienced, in other words, “a state of tolerable vapidity overlaid with entertainment.”

It's from the always-worth-reading Lee Siegel, in this book review.

Quotes from Jonathan Franzen

A few weeks ago I re-read Jonathan Franzen‘s collection of essays titled How to Be Alone partly because I was feeling lonely at the time and partly because Franzen was best friends with David Foster Wallace and so it felt timely to think about Wallace through one of his influences.

I highly recommend this collection of essays especially if you’re interested in issues of “self” and how literature / writing plays with that notion and the broader relevance of literature more generally. Franzen’s prose reads effortlessly. He intersperses light thoughts with deeper philosophical ones. He’s like Wallace in his interest in both the day-to-day absurdities of living life and the harder / impossible questions that some brave souls puzzle over. He’s unlike Wallace in that he executes his writing in a comparatively conventional way — linear sentences, no fracturing.

I’ve typed my favorite quotes and excerpts from the essays below. Some great lines. Enjoy.


“One of the great adaptive virtues of our brains…is out ability to forget almost everything that has ever happened to us.

“One of the basic features of the mind is its keenness to construct wholes out of fragmentary parts.”

“Americans care about privacy mainly in the abstract.”

“The curious thing about privacy…is that simply by expecting it we can usually achieve it. One of my neighbors in the apartment building across the street spends a lot of time at her mirror examining her pores, and I can see her doing it, just as she can undoubtedly see me sometimes. But our respective privacies remian intact as long as neither of us feels seen. When I send a postcard through the U.S. mail, I’m aware in the abstract that mail handlers may be reading it, may be reading it aloud, may even be laughing at it, but I’m safe from all harm unelss, by sheer bad luck, the one handler in the country whom I actually know sees the postcard and slaps his forehead and sdays, “Oh, jeez, I know this guy.”

Philip Roth described “American reality” as a thing that “stupefies…sickens…infuriates, and finally…is even a kind of embarrassment to one’s own meager imagination. The actuality is continually outdoing our talents…”

“In Philadelphia I began to make unhelpful calculations, multiplying the number of books I’d read in the previous year by the number of years I might reasonably be expected to live, and perceiving the three-digit product not so much an intimation of mortality as a measure of the incompatibility of the slow work of reading and the hyperkinesis of modern life.”

“Imagine that human existence is defined by an Ache: the Ache of our not being, each of us, the center of the universe; of our desires forever outnumbering our means of satisfying them. If we see religion and art as the historically preferred methods of coming to terms with this Ache, then what happens to art when our technological and economic systems and even our commercialized religions become sufficiently sophisticated to make each of us the center of our own universe of choices and gratifications?”

“As the social stigma of depression dwindles, the aesthetic stigma increases. It’s not just that depression has become fashionable to the point of banality. It’s the sense that we live in a reductively binary culture: you’re either healthy or you’re sick, you either function or you don’t. And if that flattening of the field of possibilities is precisely what’s depressing you, you’re inclined to resist participating in the flattening by calling yourself depressed. You decide that it’s the world that’s sick, and that the resistance of refusing to function in such a world is healthy.”

“Two quick generalizations about novelists: we don’t like to poke too deeply into the question of audience, and we don’t like the social sciences.”

“What religion and good fiction have in common is that the answers aren’t there, there isn’t closure.”

“Depression presents itself as a realism regarding the rottenness of the world in general and the rottenness of your life in particular. But the realism is merely a mask for depression’s actual essence, which is an overwhelming estrangement from humanity. The more persuaded you are of your unique access to the rottenness, the more afraid you become of engaging with the world; and the less you engage with the world, the more perfidiously happy-faced the rest of humanity seems for continuing to engage with it.”

“Readers and writers are united in their need for solitude, in their pursuit of substance in a time of ever-increasing evanescence: in their reach inward, via print, for a way out of loneliness.”

“Writing is a form of personal freedom. It frees us from the mass identity we see in the making all around us. In the end, writers will write not to be outlaw heroes of some underculture but mainly to save themselves, to survive as individuals.”

“To take control of their lives, people tell themselves stories about the person they want to be.”

“New York is resented as an actual place — for its rudeness, its arrogance, its crowds and dirt, its moral turpitude, and so forth. Global resentment is the highest compliment a city can receive, and by nurturing the notion of the Apple as the national Forbidden Fruit such resentment guarantees not only that ambitious souls of the “If I can make it there, I’d make it anywhere” variety will gravitate toward New York but that the heartland’s most culturally rebellious young people will follow.”

“The city, by its very nature, provides what otherwise could be given only by traveling; namely, the strange. Familiarity, whether of chain stores or of cookie-cutter subdivisions, erodes the autonomous intelligence and, in a weird way, undermines privacy. In the suburbs, I’m the stranger; I feel exposed. Only in a crowded, diverse place like New York, surrounded by strangeness, do I come home to myself.”

“One pretty good definition of college is that it’s a place where people are made to read difficult books.”

“The essence of postmodernism is an adolescent celebration of consciousness, an adolescent fear of getting taken in, an adolescent conviction that all systems are phony. The theory is compelling, but as a way of life it’s a recipe for rage.”

“In a sense, I’m proud of not being like everybody else. Like everybody else, though, I’m anxious about sex, and with sex the recognition that I’m not like everybody else leads directly to the worry that I’m not as good as — or, at any rate, not having as much as — everybody else. Sexual anxiety is primal; physical love has always carried the risk that one’s most naked self will be rejected.”

“This is the conundrum of the individual confronting masses about which he can’t help knowing more than he’d like to know: I want to be alone, but not too alone. I want to be the same but different.”

“When we make love, we forever have in our heads an image of ourselves making love.”

“Few pleasures compare with that of riding on a bus after dark, hours behind schedule, with people you violently agree with.”

Beware of Comparatives (“Than”) Part Two

Few weeks ago I blogged the rule of thumb that compliments should never contain a comparative (e.g. “than”). Instead of saying, “You look much prettier than you did yesterday!” just say “You look pretty!”.

Recently someone told me: “Traveling to that country is harder than you think.”

My immediate reaction was: “No, it’s not harder than I think. I know it’s hard.” I got hung up on the other person assessing my own assessment of hardness.

The more effective line from him would have been: “Traveling to that country is hard.”

Bottom Line: Beware of “…than you think” when saying something. Beware of comparatives in general. Just say it!