tag:blogger.com,1999:blog-32323391215793528092024-02-20T08:07:17.703-08:00"All I can tell you is, it isn't so bad."Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-3232339121579352809.post-26693354805050300882013-02-11T13:17:00.001-08:002013-02-11T13:17:55.887-08:00Baseball Statistics are Mostly Bullshit<span style="font-family: inherit;">Here is my version of a baseball post. I have played, watched and studied baseball for most of my 22 years here on Earth. It is not only my favorite sport but one that can be both beautifully simple and maddeningly difficult to understand. The pitcher throws the ball, the batter hits the ball and runs the bases to score a run while the prevention of scoring a run is an out. Nine players, nine innings. Three outs. Its majesty cannot be overstated. It is everything an anachronism should be: the players wear wool caps and striped pants with belts. There is no clock; nowhere to run away from a victory or defeat. Umpires wear blazers and the bats are wooden. </span><br />
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<span style="font-family: inherit;">A post on Grantland today made me think of baseball and the way I see it versus the average fan. For full disclosure, I have read some Bill James and also Michael Lewis' <i>Moneyball </i>cover to cover at least twice. I am fascinated by a sport that is so dedicated to its statistics, records and numbers. But, the same people who run this game have no use for these numbers in running a team (otherwise known as "Why Adam Dunn is still in the MLB.") Jonah Keri wrote "The Fifteen Worst Contracts in Baseball" (it can be found here: <a href="http://www.grantland.com/story/_/id/8914127/jonah-keri-worst-contracts-mlb">http://www.grantland.com/story/_/id/8914127/jonah-keri-worst-contracts-mlb</a>) and he wrote, "...the cost for a win on the open market is between five and six million dollars." </span><br />
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<span style="font-family: inherit;">That's where I raise an eyebrow. </span><br />
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<span style="font-family: inherit;">Obviously if teams were just buying wins (not like those jokers Cashman, Epstein, Dombrowski, and Colletti do) but actually paying cash for wins in the standings, this would make a playoff season (assuming 90-95 wins, or the 20+ games the Tigers will be up on the Indians in September) cost $450-500 million. Since we don't buy wins, we pay players to produce wins, no one spends that much, not even Steinbrenner in the late 90s. But how those wins are achieved and recorded is another story. In this episode I will break down some statistical measures in baseball and explain its merit or uselessness. </span><br />
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<span style="font-family: inherit;">Error- "<span style="background-color: white; line-height: 19.1875px;">In </span><a href="http://en.wikipedia.org/wiki/Baseball" style="background-color: white; background-image: none; color: #0b0080; line-height: 19.1875px; text-decoration: initial;" title="Baseball">baseball</a><span style="background-color: white; line-height: 19.1875px;"> </span><a href="http://en.wikipedia.org/wiki/Baseball_statistics" style="background-color: white; background-image: none; color: #0b0080; line-height: 19.1875px; text-decoration: initial;" title="Baseball statistics">statistics</a><span style="background-color: white; line-height: 19.1875px;">, an </span><b style="background-color: white; line-height: 19.1875px;">error</b><span style="background-color: white; line-height: 19.1875px;"> is the act, in the judgment of the </span><a href="http://en.wikipedia.org/wiki/Official_scorer" style="background-color: white; background-image: none; color: #0b0080; line-height: 19.1875px; text-decoration: initial;" title="Official scorer">official scorer</a><span style="background-color: white; line-height: 19.1875px;">, of a fielder misplaying a ball in a manner that allows a </span><a href="http://en.wikipedia.org/wiki/Batting_(baseball)" style="background-color: white; background-image: none; color: #0b0080; line-height: 19.1875px; text-decoration: initial;" title="Batting (baseball)">batter</a><span style="background-color: white; line-height: 19.1875px;"> or </span><a class="mw-redirect" href="http://en.wikipedia.org/wiki/Baserunner" style="background-color: white; background-image: none; color: #0b0080; line-height: 19.1875px; text-decoration: initial;" title="Baserunner">baserunner</a> <span style="background-color: white; line-height: 19.1875px;">to advance one or more bases, when such an advance would have been prevented given ordinary effort by the fielder."-Wikipedia. Errors are partially useful and otherwise not useful. True, you can devise a fielder's worth based on the number of errors he commits in a season. But this stat isn't fair to the fielder. An error is recorded when the scorer <i>expected </i>an action and it didn't occur. There is no mention of errors in relationship to a defensive shift (ie to turn a double play) where, because the fielder was out of his natural position his range changed and he did not reach a ball that he otherwise could have taken. Errors recorded are just as much about luck as they are skill. And God forbid we consider errors given on throws. Who truly receives the error? the baseman who missed it or the fielder who threw it? Defensive statistics are difficult in baseball, but they won't get better until we move away from using errors as a baseline. I would prefer a method that makes a percentage where "clean outs recorded" is divided by "total balls attempted." This would produce a number like a batting average that shows how many outs a fielder records based upon the number of plays he attempts. </span></span><br />
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<span style="line-height: 19.1875px;">Save- "A pitcher can earn a save by completing ALL three of the following items:</span><br />
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<span style="line-height: 19.1875px;">1.Finishes the game won by his team.</span><br />
<span style="line-height: 19.1875px;">2.Does not receive the win.</span><br />
<span style="line-height: 19.1875px;">3.Meets one of the following three items:</span><br />
<span style="line-height: 19.1875px;">a.Enters the game with a lead of no more than three runs and pitches at least one inning.</span><br />
<span style="line-height: 19.1875px;">b.Enters the game with the tying run either on base, at bat, or on deck.</span><br />
<span style="line-height: 19.1875px;">c.Pitches effectively for at least three innings." -Baseball Almanac</span><br />
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Closers are the most overrated and overpaid members of a pitching staff. Rarely does the situation at the end of the game allow a save opportunity and when it does there is some magician throwing cutters (Mariano Rivera, anyone?) who comes out and faces two batters and ends the game. Saves are worthless statistics because of the requirements to achieve one. And what about a starter who throws a complete game? Why isn't he worthy of a save? Or the middle reliever who comes in during the sixth and completes the game? Why not give him a save for finishing the win that the starter began? Smart Gm's (See Bean, Billy and Jocketty, Walt) get young pitchers, have them throw fastballs in the ninth to record saves for a couple of years and then sell them off at a profit to big money clubs. Saves are meaningless but for the starting pitchers and relievers who make the save happen.<br />
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ERA- Earned runs average. "(Number of Earned Runs x 9) divided by (Number of Innings Pitched)"-Baseball Almanac. Look this stat is useful in some ways but otherwise overused by dilettantes who think that ERA directly correlates to pitching output. I don't even want to broach what constitutes an "earned run" and an "unearned run" because as far as I am concerned every run that goes up on the board is earned by the offense. Learning baseball from my father, which is a very defensive minded approach to the game I do not give the defense any break for unearned runs. THE ONLY WAY AN OFFENSE SCORES IS THROUGH A DEFENSIVE BREAKDOWN. Pitcher throws a home run ball, the shortstop misses a line drive, etc. Since the defense controls the ball, the offense must react. Being a reactionary force, the offense plays within the bounds set by the defense. Being proactive on defense will bring baseball success. (As an example, my father believes that the best baseball games are won by a score of 1-0 or 2-1 where the defense plays its positions perfectly and the offense plays small ball and trades outs for advancing bases.) Getting back on topic, I say that WHIP (detailed below) is a far better statistic than ERA when considering pitching output.<br />
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RBI- Runs Batted In. Look, this stat is bandied around as a measure of hitting output. It's why Prince Fielder got a $200 million contract to come to Detroit. Because given the opportunity to hit an RBI he succeeds more than he fails. But consider this:<br />
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If no one was on base, there is no opportunity to hit an RBI.<br />
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Yes, this is not a paradox and something that a little leaguer understands. But look at it again:<br />
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Without a baserunner, there is no possibility that the hitter can record an RBI.<br />
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Now, some of you might stop and look at me like my friend Andy did when I said, "If everyone was playing at home on Opening Day there would be no games." (His response was classic, 'You're not incorrect, but why are you saying that like its some magical discovery?') But seriously, without a good lineup around him, Fielder would not be able to record RBIs and get a contract as fat as he is. RBI understates the action that was already completed by another hitter. Plus, how many runners score from first base? (certainly not Prince) So, the baserunner probably already advanced to second or third under his own power. We shouldn't discredit the double that preceded the RBI. As outs are the supreme measure of baseball, and what you do within a finite 27 outs defines offensive production, one could say that a double by Miguel Cabrera is just as important as Fielder knocking him home. And it becomes even more valuable when Fielder doesn't hit the ball to the outfield wall and thus, cannot advance past first. He has now become a detriment to the next hitter seeking an RBI because he can't move his fat ass around the bases.<br />
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That's pretty much the end of my rant. I appreciate most baseball stats and think that real value can be derived from them. However, I think that at times the stats are skewed on offense to highlight individual accomplishments that are not due to the individual, but instead due to the offensive players ahead of him in the order. We should credit the hitters who did not make outs and advanced themselves on base to give Fielder the opportunity to record RBIs, not just Fielder.<br />
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Also on defense I think that stats are too focused on the defense as a unit and need to be tailored to account for individual performance, such as considering how many clean outs are recorded by a 2B or how many hits a pitcher surrenders. But below are three stats that I think are undervalued by the baseball cognoscenti and should be used more when we determine who is truly producing success in baseball. Keep in mind that wins are the ultimate goal. Not strikeouts, walks, runs, hits, doubles. Just wins. Teams use those stats but they are secondary to wins because only through wins can we see who the best team is and who the best producers are. Buying wins is the name of the game and this fact was not lost on Bill James or Billy Beane, but it seems to have been lost in the big money clubhouses of the Cubs and Red Sox.<br />
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WHIP- "(Hits + Walks) divided by Innings Pitched"-Baseball Almanac. This is the absolute best, bar none, 100% most useful pitching statistic that exists. Period. I love the WHIP so much because it cuts through the ERA and K bullshit. Put plainly, the WHIP says, on average how many baserunners do you allow per inning? The best pitchers have a WHIP that hovers between 0.97-1.31. Basically, your best pitchers average one baserunner per inning. This stat is independent of innings pitched and truly proves success on the mound as it proves that good pitchers do not allow baserunners.<br />
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OPS-On Base Percentage+Slugging Percentage- This stat is good, certainly better than measuring hitters in terms of RBI, because it combines two crucial factors for hitters, the ability to get on base and the ability to hit for power. As outs are precious, this stat values hitters who do not record outs and give their team more chances to record runs. Hitters who score high in OPS are usually the best in the biz.<br />
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WAR-Wins Above Replacement. Basically taken, this stat considers how many wins a given player produces for their team opposed to a replacement player. This stat is still being developed and perfected, but at its best it tells us who in MLB is earning their money, and starting job, and whos performance says that the job could be better served by someone else. The median is 0. This means that if all players were equal no one would replace them because there is no one better or worse than the other. The best players in MLB (Verlander, Pujols) record a WAR of 7-8. This means that they give their team 7 or eight more wins than the team would achieve without the player. Bad players record negative WAR, as Adam Dunn did in 2012 with a WAR of -4. This means that keeping Dunn in the lineup not only produced no wins that they would have without him, but also that he cost the White Sox four wins they would have otherwise attained without him.<br />
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Put bluntly, the point of this work is that Adam Dunn sucks and you shouldn't overvalue Prince Fielder's RBI ability because the entire lineup contributes to it.<br />
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And Adam Dunn sucks.Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-54909232126587491332013-02-05T19:08:00.002-08:002013-02-05T19:09:53.075-08:00For My Dad(Yes, this is my version of Paul Harvey's speech from the Ram Trucks commercial)<br />
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And on the ninth day...(having already made the farmer)</div>
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God looked down at his planned paradise and said "I need a protector." </div>
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So God made a firefighter.</div>
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God Said, "I need someone willing to get up before dawn, clean his truck, take runs all day, clean his truck again, eat a cold dinner and stay up past midnight at a head on collision."</div>
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So God made a firefighter.</div>
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God said, "I need someone to stay up all night trying to save a family's home from the flames only to watch it collapse, then dry his eyes and say "roll the hose." I need someone who will revive crackheads, swing an axe to save people trapped on the other side, cut the roof off of a car without hurting the occupants, who can treat three injured people with a half empty medic bag and cops breathing down his neck to clear the scene. Who, because of vacations and layoffs, will work his 24 go home and sleep for six hours then work overnight overtime only to return the next day for his tour at 0700."</div>
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So God made a firefighter.</div>
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God said, "I need someone strong enough to lift old people and carry hose yet gentle enough to comfort children and donate Christmas presents to the needy and spend his off days filling the boot for MDA. It has to be someone who would work late and complete all of his run reports after cleaning up Crew 2's mess. Someone who'd carry, hold, fight, save, live, survive and thrive. Someone who'd be there for his brothers by watching their backs and picking them up when they fell.</div>
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Someone who will miss baseball games, gymnastics performances, birthdays and anniversaries; who would laugh, sigh, and reply with smiling eyes when his son said 'It's ok dad. I'm glad that you're here now." </div>
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So God made a firefighter.<br />
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For my dad, Ralph Conrad. Lancaster Firefighter/Paramedic and proud member of IAFF Local 291.</div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-7786155484322516002013-02-05T11:01:00.002-08:002013-02-05T11:01:31.814-08:00CriticismToday on Twitter I saw a review of the TFM Book by Tucker Max. This interests me on several levels; mostly that I have read every book and story that Max has published and while his exploits are ludicrous and the humor is sophomoric the fact remains that Max is an accomplished author. He can enthrall a reader and delight with very visual descriptions of the things that he got into while in college. As an undergraduate student and a fraternity member myself I enjoy the party-based womanizing antics of such a man. And on another note TFM is a cultural movement that hits close to home for me. TFM (Total Frat Move) began a couple years ago as a website (<a href="http://www.totalfratmove.com/">www.totalfratmove.com</a>) and has become a staple in fraternity houses around the country. Describing TFM is like describing my fraternity's ritual to the uninitiated. I would suggest reading it and seeing what they have to offer for yourself.<br />
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But, it wasn't Max's review (though it was positive) that interests me. What spawned this post was a quote by Max about literary criticism in general. He writes:<br />
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"I HATE critics who think that their opinion of a book should somehow become the defacto truth about the book. Bullshit. I cannot stand <i>50 Shades of Grey </i>(yes I've read it), but millions of people disagree; OK fine. My opinion is valid for me, and wrong for them.<br />
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That is the problem with professional criticism. Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but that's what it has become, and that's why no one cares about professional criticism anymore.<br />
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I'm off my soapbox now."<br />
(Taken from the full review at <a href="http://tuckermax.me/">tuckermax.me</a>)<br />
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I can see Max's point. Critics become popular and more successful and then their writing becomes less a companion to the original author's words and more about their own thoughts and impressions. It is akin to a music review in <i>Rolling Stone </i>becoming larger than the band's album or an art review that feels superior to the original painting. We should respect the original creator and appreciate his work. Right or wrong, good or bad is all subjective. The objective point is this: the book got published, the painting was commissioned and the album released. The artist made money doing what he loves and moves on. We bask in the afterglow below and in the words of my roommate Andrew, "respect the hustle." Without the original there would be nothing to review and criticism would not exist.<br />
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However, Max is not faultless here. I appreciate that his review was positive (I'll spare you the details, basically he was proud of the TFM guys for growing their brand and that he was tired of reading fratire stories as he claims he has moved on, yet he has published nothing new since Hilarity Ensues. Still rolling in the profits, eh Tucker?) The fact is this: Max's celebrity drew the TFM boys to ask him for a review. Without "inventing a genre" and making a movie and publishing several books no one would care what Max has to say about the story. TFM's readership will increase regardless if Max's review was positive or negative just because it is Max who wrote a review. Tucker's celebrity allowed him to speak intelligently on the book and is completely about the critic.<br />
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Similarly, when I wrote about John Updike's critical essays last semester those reviews were entirely about Updike. Reading these essays thirty-plus years after they were published I can assure you that I did not read them for insight into the author or the original work. I read them because Updike wrote them. Being a published author himself, Updike's words became paramount and larger than the work itself.<br />
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On another scale, my mentor D.G. Myers is a working critic and a professor. He gets advance copies of stories and chooses which to review. He become flooded with works and must wade through them to pick the best that are worthy of his ideas. This is where modern criticism lies and the reality that Mr. Max does not like: the fact that there are more novels published than competent critics to review them. Myers, to his readership, is a sort of "last word" on the books he reviews. He tells his readers what he liked and what he didn't as well as notes on the author and the prose overall. Because the readers trust his ideas and his expertise in literature, they take his decision into account when choosing books for their own shelf.<br />
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So, I agree with Mr. Max. The original work is what counts the most. We must give the author his due and respect that he has written something worthy of publishing. Without authors there are no critics. Many people have made careers and livelihoods offering their opinions on another writers words. But this is my divergent point: a modicum of celebrity and readership goes a long way. No one asked me or my fraternity brothers to review the TFM book. Why should they? We aren't published authors or respected writers. Tucker Max made his fortune writing outrageous stories about himself and his friends. The TFM gang respects his input and solicited him for a review knowing full well that the content of the review was irrelevant and a moot point. Just being able to connect the phrases "TFM" and "Tucker Max" gives the TFM Book legitimacy and creditably as readers of Max's works are more likely to pick up the TFM Book than readers of other genres. Money changes hands and everyone goes home happy. John Updike's criticism was notable not because of the works that he reviewed, but instead the works themselves became more important because Updike chose to write about them. Here too, TFM became more important because Tucker Max wrote about it.<br />
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<br />Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-64322492963664966392013-01-31T11:05:00.002-08:002013-01-31T11:05:04.039-08:00DinersI love diners, positively adore the old fashioned counter service and delight in the food that was cooked on a flat top grill and served to me as soon as it was finished. My love affair with the diner began when I was a child. My father has been working on engines since he was in middle school and became a mechanic after college. He is very experienced and talented at nursing engines back to life. When I was young he would go wrench on work trucks for his friend who owned an oil drilling company. He would bring me with him. It would be an adventure going to the shop and the oil fields to see what was going on and what needed service. Sometimes we would go as far as West Virginia but we would always stop for lunch. This being rural Appalachia all of the towns were small but each one had a diner. Generally a small storefront on the main drag in town that served pancakes and eggs in the morning, cheeseburgers for lunch and a daily special like fried chicken or chicken fried steak. Eschewing the tables and booths, we always chose counter service. Sitting on a high bar stool and seeing the grill and deep fryer behind the counter was amazing to me. Watching pink patties transformed into brown burgers and tan goo frying into golden brown pancakes was quite a sight for a young boy. Since those trips when I was young I have always loved eating at diners. Sure, the food isn't good sometimes and it isn't good for you all of the time. But the diner is America. It is the refuge of the working man and the haven for the farmer. Every rural town that's worth a shit has a diner. My hometown has the Snack Bar, New Lexington to the south has the Corner News and Glenford to the east isn't worth a shit because there is no diner there, just meth.<br />
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To the uninitiated I have some tips because diners can be daunting if you don't know what you're doing. The patrons are regulars and don't need menus. The wait staff is underpaid and overworked and can be gruff. Navigating this jungle of kitschy decor and greasy eggs is worth it for the experience; because where else can you eat eggs and grits with unlimited coffee for $5.50? No where I know of, brother.<br />
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First: THE DINER IS NOT FOR FAMILIES. Don't bring your entire brood and expect appropriate seating. They invented a diner for families: its called Bob Evans and your wife prefers to eat there anyway. Put bluntly, the diner doesn't have a table for six so get the fuck out. The diner is not solely a masculine place but it's just not big enough to seat multiple families. The tables are too small and only an asshole occupies all of the bar stools with his wife and progeny. When your wife is busy on a Saturday morning, bring the kids. Let them eat chocolate chip pancakes and drink Pepsi at 10am and then dump their sugar rushed, chocolate covered bodies on your woman when she gets home. Bring your significant other when its just the two of you and sit and drink coffee and people watch while someone else has to deal with your kids. But the equation of husband+wife+kids equals no service.<br />
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EGGS COME THREE WAYS: SCRAMBLED, OVER EASY OR SUNNY SIDE UP. You want eggs over medium? What is it, Nancy Boy, your period? The idea with this point is that you should not get fancy at the diner. What's on the menu is what goes into the dishes. No exceptions. Don't order an omelet and ask for no onions and extra spinach because that's just not going to happen. If you want plain eggs then get those. The diner has plenty of combinations that you can order that substitutions aren't necessary.<br />
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FINALLY: TIP. TIP. TIP. Look your server is busy and s/he deserves a tip. Diners are the kind of high volume/ low profit establishments that break the "15% tip" mold. The average ticket at a diner is less than $10 but it requires full counter service including drink refills. So you leaving $1.02 on a $6.98 breakfast makes you look like an asshole, ok? I can hear you, "But Cory, that's about 15%." Yeah and I'm sure you will be ok with eggs that are 20% cooked next time. Here's my rule of thumb: $3.00 tip if its less than $10 total. Over $10 can use the 20% rule. Trust me, your server will appreciate the extra dollar than you do to keep it. She earned it by keeping the coffee hot and smiling while you hemmed around looking at a menu.<br />
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My favorite diners in Columbus are Buckeye Donuts and Jack and Bennys. Its not about what they have to eat (I order almost the same thing at every diner) its that they have been around for so long and can make a profit off of eggs and orange juice. Its stable and comforting. I can walk in and get the same thing today that I could have gotten when Nixon was president. Not much changes at a diner. Buckeye Donuts is a campus place but just sit at the counter sometime. See the old Greek man in the back cutting donut dough and watch the gyro meat roll around on its vertical spit. They usually play XM Radio 70s on 7 and are quick to refill the coffee.<br />
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Jack and Bennys at High and Hudson is also busy but good. They have a Zomex juicer in the corner that produces fresh OJ from throwing oranges in the bin on top. They don't split checks and I would suggest bringing cash because their credit machine looks broken. It has a wall of OSU stuff that is worth a gander and an electric clock above the counter that drew my hung over interest for several minutes.<br />
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What to eat? Well I usually eat the same thing everytime. Called the "businessman's breakfast" at the Echo in Hyde Park, Cincinnati or the "rise and shine" at the aforementioned Bob Evans it is two eggs, hash browns, bacon and toast. I like eggs over easy, dry wheat toast and coffee and water to drink. Its enough to warm me up and make me feel like the expansive, wasteful and Imperialist American that I am. People in third world countries surviving on corn paste and goat's milk? Ha! I ate more than that just now, and its only breakfast. America: proclaiming dominance once again, one three egg omelet at a time.Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-14654176609498929082012-11-27T15:17:00.002-08:002012-11-27T15:17:15.230-08:00The End, My Only Friend Coming near to the end of this semester, and subsequently this course, I am compelled to write here about the course overall. Consider this a conclusion or a mopping up of the semester. It might be choppy in some areas, but overall will explain my process and journey from this course.<br />
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First, credit where credit is due. Professor Myers has been a wonderful guide and mentor. I appreciate his knowledge not only on literature and criticism, but also on life and America through the years. We have had many conversations together and I have learned much from him. This semester went well and flowed easily from one book to another, just as we had planned. I like the stories we chose and if there was one regret I had it would be that we have run out of time and cannot complete any more stories. Professor Myers also pushed me to consider the blog format as an effective medium to share my ideas and opinions and I thank him also for that. If it wasn't for the blog, I would have been pressed into writing a research thesis about these themes and stories, something that I loathe to consider as an undergraduate student. I know that publishing your work and researching topics is the mantra of the nation's universities, but I am a man of the times and like this casual online medium. Plus, my friends and family have the opportunity to read it and I like that. So, blogs good; thesis bad. (And full disclosure, I did not write this paragraph to garner praise from Myers. He is already too full of himself to receive anymore unwarranted praise. This was my public thanks to him because he works hard and I appreciate him taking the time to mentor me as he has.)<br />
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When I came across the nucleus of an idea to do independent study Myers and I were discussing Updike, I think, and his work with the <i>Bech </i>novels. So it came to be that we studied Updike because he is one of my favorites and Myers knew enough about him and the contemporary style to discuss these things with me. I cannot consider another writer that I am as fond of who also has the vast library of published works that Updike has. He has enough to fill a semester and more. Sure, I could have slogged through Hemingway or debated the merits of Heller with Myers, but Updike, unassuming, details oriented writer that he is offered the best opportunity to study fiction for me. Now, I come away with something more. I hold a deeper understanding of the writer and his ideas than when I had picked up a paperback of <i>Rabbit is Rich </i>for the first time. I now see more than the words on the page and the characters, I understand better the themes and motivations that the author put into his works. I am glad we studied such a storied (yes, pun) author and would do it again.<br />
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As a critic and a reader, I am more astute at discerning meaning within a story. Myers has his own rules for critiquing literature and Updike had his too, which were some of the most widely known in the world of criticism. But as a reader and student I have come up with my own too. These are aimed at people like myself who don't do it for pay but have more than a passing interest in the works that they read.<br />
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1. What is the author saying? This is the most fundamental question and the one that requires the most time spent to me. As a reader your first priority is to understand what the author is saying. Now, this does not mean parrot back what is printed on the page. Things are not always what they seem. Read the words and decide what the author is saying. This can be in subtext, or in plot details but most of all see and understand what is being done on the page.<br />
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2. To whom is he speaking? As a reader, you singularly are not always the recipient of the message. The author might be speaking through his words and through you to someone else. Whether it is a person, group or society in general it helps to see 1. what the author is saying and 2. to whom is he saying it?<br />
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3. Sweat the small stuff. Authors like Updike love to throw major themes and morality judgments at you through asides, actions, plot and objects. Just because it isn't said by a character doesn't mean that it isn't important. Don't gloss over the smaller things because a master of the mundane like Updike will throw major points at you there and you will miss them.<br />
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4. Speak up. Don't like a book? Say so. Think that a novel won't have staying power into the next decade? Preach, sister. Want to demean and degrade an author for his choice of setting or flat characters? Do it. Look, in my opinion fewer people are reading novels these days. Electronic formats have driven the masses away from books in favor of news and magazine articles. This means that writers will do more in an attempt to drive sales. But do not forget quality writing in the face of more sales. My point here is this, writers need to know if they are doing their jobs well or not. How else will they know if they are writing good stories or not? When you read, talk about it with other people and express yourself. Share your opinions and back them up with your arguments.<br />
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5. Jeffrey Eugenides sucks. Actually that's not a rule, just wanted to again express my distaste over <i>The Marriage Plot </i>which Myers loves and has sold well. Basically its a novel about books. Yawn. The conventions that Eugenides uses are campy and outdated to me (giving characters names that point to inner attributes, quoting French metaphysics that nobody has ever heard of, and the 1980's East Coast college setting) and overall it was about 150 pages too long. More length does not a good book make.<br />
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6. Electronic or paper, just read. I have a Kindle and like it. But i still buy paperbacks sometimes. I cannot say either format is better, I just want more people to use one of either to read more novels.<br />
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Those are my rules for fiction and have come in handy as this semester went. Sometimes it is critical, especially when you keep reading stories by the same author, to get back to basics and consider the building blocks of a story. Getting the ground up approach where you take the big things first and stack the details on top helped me with some of the works that shared themes or characters because getting bogged down is no fun.Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-70892331969538881302012-11-26T13:44:00.005-08:002012-11-26T13:45:12.212-08:00What Held Updike BackAs we finish this semester, we have explored many crevices of the life and times of one John Updike; an American author, novelist and critic who's works have outlasted his lifespan and will continue for decades to come. I have thoroughly enjoyed this study and it has made me a better reader and critic. We studied sex, the suburbs, religion and America through the decades. However, a fair assessment and conclusion is what comes at the end: a legacy. There is no doubt that Updike is a literary legend, a titan in anyone's measure. But there is a glaring flaw to his career which saddens me, this is the fact that Updike left no literary progeny. While Hemingway can point to Mark Twain as his inspiration and model as an author, Myers and I found no such relationship for Updike. He is a man who lived and wrote alone. Taking on the American suburbs with the view for the contemporary is admirable and bold. But, there is no one who does this same thing now. No one comments on America in such a fashion or centers his works on a character like Rabbit.<br />
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Why does no one hold the flame for Updike today? I have several ideas as to why but there is one that stands out more than others. Updike has no followers because in his works he held total control. When I say that I mean this: Updike's characters said and did exactly what he told them to say and do and they did no more. Never does a man like Rabbit or Nelson take on lives or personas outside of their respective typecasts. After the first two books, Rabbit's moves and mannerisms become predictable and somewhat stale. He continues the same choices that got him into the messes he started with his family and job life and does not see that the troubles continue. Updike was too afraid to relinquish control. This is tricky because all fiction is made up and characters are all written by an author; but consider this: Yossarian changed war novels forever. Period. Everyone since Heller has written about war with a cockeyed view. Long gone are the days of the stoic soldiers fighting for a cause, knife gritted between their teeth, hacking and slashing their way through nameless and faceless enemies for God and country. <i>All Quiet on The Western Front </i>is a beautiful novel about war and the individual, but it comes nowhere near the realization that war is an insane proposition. Those soldiers of the Kaiser fought because it was their duty and death in the field was just bad fortune. No. Today's war author considers the other guys, after all they are humans too, and sees that the "good" guys and "bad" guys want the same thing: to survive a situation in which they have little control and the forces in action are greater than themselves. Yossarian helps us to see the futility of war and its effect on the individual. Making war a farce was Heller's calling and he did it quite well. But without Yossarian none of this would be possible. Heller sort of gave his careening bombardier a push and the character took off by himself. Yossarian Lives is not just the cult slogan for those of us who love <i>Catch 22, </i>it is also a literary saying that Yossarian lives outside of the novel, that is his situations and personality can exist outside of the book. Updike never allowed his characters such freewill.<br />
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Also none of his characters are "smarter" than him. All of his books are written in third person. And where a smart character would say something intuitive or intelligent or do something outside of himself Updike's ever present and omniscient Narrator jumps in and offers expert analysis and commentary. Where Updike should be offering thoughts on baseball in <i>Rabbit, Redux </i>it is instead the Narrator acting in his stead. Rabbit would be a different and more interesting character if he were allowed to offer Updike's thoughts on baseball himself instead of the Narrator. If Rabbit offered some salient point on the national pastime or discussed how the forced interaction with his father in law and son made him feel would be better for all involved. It would make Updike look that much more benevolent as an author because he allowed his character to voice Updike instead of Updike voicing Updike, it would be better for Rabbit because it would show the audience that Rabbit is capable of complex thought and further it would be better for the audience and longevity of the work because instead of the author directly speaking he would offer his thoughts through the filter of the character which is not only more empathetic but intersting too. Its like the voice over in a sitcom or the future Ted Mosby talking to his dumbass kids in the insufferable <i>How I Met Your Mother. </i>(My hatred for that show deserves its own post but suffice to say that I find Ted to be laughably weak and creepily fixated on getting married, I find Robin to be an unpleasant distraction if she isn't going to end up as Ted's wife. Further I think that Jason Segal and his redheaded wife don't add anything and that Neil Patrick Harris' back must be killing him from carrying this enema of a show.) <br />
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Further, this fits in line with Updike's fervent devotion to Realism. Updike always wrote within the realm of the real because he lacked the imagination to see outside of those walls. Why didn't Ahmad blow up the tunnel in <i>Terrorist</i>? Because Updike has no concept of the mind of a terrorist, and since he cannot comprehend those machinations he leaves the end of the story with no conclusion other than the tunnel is intact and our fair weather terrorist going home to live another day in Jersey. A more imaginative writer (or at least one who did his homework) could conceive Ahmad blowing up the tunnels in a tribute to his deadbeat father or as an anger fueled rejection of his mother's lax Catholicism. What I am saying is that because Updike only wrote and acted within the bounds of that which he could see and comprehend, he bungled the end of <i>Terrorist </i>and showed the limits of his writing prowess.<br />
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Now, it pains me to write so disparagingly about Updike. He is a great author and man in his own right and my undergraduate complaints certainly don't permeate the vast library he wrote. But don't forget that Updike only just died in 2009. He is still widely read and consulted as an expert on words and ideas. However, he has no family tree. Consider this: great coaches are measured on their wins and championships but they are also judged on how many successful coaches they produced too. Woody Hayes won championships, but guess what? He taught Bo Schembechler, Lou Holtz, Ara Parseghian and Earle Bruce. Good list, but if you take it a step further those guys brought Pete Carrol, Urban Meyer, Jim Tressel, Nick Saban and Ron Zook among others by their tutelage. Now if you add up the number of football championships that have been won because of Woody Hayes it is astounding. This is my point, success breeds success. Rarely is there one man who is successful and doesn't pass the good stuff along. Updike breaks the trend. He is the exception, the man who didn't have a protege.Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com1tag:blogger.com,1999:blog-3232339121579352809.post-35025278183809712692012-11-15T14:22:00.003-08:002012-11-15T14:22:49.056-08:00Time Magazine lists are Foolhardy<span style="font-family: inherit;">Time Magazine compiled a list of the top ten Updike books. The full list can be seen here: <a href="http://entertainment.time.com/2009/01/28/top-10-john-updike-books/slide/the-rabbit-books-1960-2001/">http://entertainment.time.com/2009/01/28/top-10-john-updike-books/slide/the-rabbit-books-1960-2001/</a> . While researching the internet for more information on <i>Picked Up Pieces </i>I came across this list. I feel book lists are flawed, ranking authors by novels is a subjective procedure. This list only appeals to the following groups of people:</span><br />
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<span style="font-family: inherit;">1. Fans of Updike-If you are already a fan of the man's works you would be inclined to view a list like this because you either want a) your opinions on the author and his works validated or b) you want to read more Updike and don't know where to find it. These people really don't need a list like this.</span><br />
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<span style="font-family: inherit;">2. Literary Critics-This subset is responsible for book lists. They spend time compiling lists like these and reading lists by other critics. For them there is relatively little skin in the game. Right or wrong these lists don't affect them.</span><br />
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<span style="font-family: inherit;">3. People Who Only Read What's Popular In That Moment (AKA Jonathan Franzen's entire fanbase)- These people don't have any real interest in fiction or authors. They lack the necessary skills to discern good literature from bad. These are the people who buy novels because Oprah tells them to; they are also the people who consider <i>Fifty Shades of Grey</i> to be a quality novel because it was popular and contained graphic sex, never realizing that the books were sensational and smut. I have little time for people like these because they don't really read fiction nor do they really understand what goes into a novel to make it work. They see an Oprah sticker or Franzen on the cover of <i>Time </i>with the headline "Next Great American Author" and buy his garbage without a second thought. </span><br />
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<span style="font-family: inherit;">Basically I don't like these lists because of what they leave in (popular works and big name authors regardless of content) and what they leave out (novels by lesser known authors that have put something real into their novels). I will now give you the entire list and my comments on each selection.</span><br />
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<span style="font-family: inherit;">1. The Rabbit Books- Not only picking one of the tetrology, they decide to include all of the stories. I would have separated them out because I feel that <i>Rabbit is Rich </i>is the best of the four. <i>Rabbit Redux </i>is the weakest and <i>Rabbit at Rest </i>and <i>Rabbit, Run </i>fall somewhere in the middle. I think it is fitting that these books come first on the list, they are the books that not only made Updike famous but they are also the first Updike I read and loved.</span><br />
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<span style="font-family: inherit;">2. <i>The Early Stories 1953-1975- </i>Now, I have not read much of Updike's short stories but those that I have are excellent with <i>A&P </i>being by far my favorite. Maybe ranked a little high but by writing for the <i>New Yorker </i>Updike gained influence, a voice and an audience. His short stories are bright and use their sparse words well providing description in a small space.</span><br />
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<span style="font-family: inherit;">3. <i>The Centaur-</i> This won Updike the National Book Award and is one that I have not read, so I won't comment further. If it's good enough for the critics then it's good enough for me.</span><br />
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<span style="font-family: inherit;">4. <i>Couples- </i>Excellent novel and the one that sparked the sexual revolution in America. Ranked fourth is well enough because it is not as widely known as his later works but it is influential for many reasons. Basically know this: if <i>Couples </i>describes the Revolution, then <i>Rabbit </i>is the aftermath.</span><br />
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<span style="font-family: inherit;">5. <i>Bech- </i>Widely read and known trilogy of stories about a Jewish novelist, Updike really was at the height of his powers in the 1970's and this work reflects that. However, at least one working critic (and oddly enough it is my mentor D.G. Myers) argues that <i>Bech </i>doesn't work because Updike isn't Jewish and can't accurately describe the lives of contemporaries like Malamud, Bellow and Roth. I think this book is too high on the list not because of notoriety but because it just didn't fit.</span><br />
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<span style="font-family: inherit;">6. <i>Picked Up Pieces- </i>Updike's first work of literary criticism and the first work that proved he can not only write his own works but discern in other's writing what is good and what isn't. I was working on this one this week and will write about it further down in the post. </span><br />
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<span style="font-family: inherit;">7. <i>Hugging the Shore- </i>I know nothing about this work and frankly didn't know that it existed. A shame too, because I wish that I could go further but my time is limited within the semester format.</span><br />
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<span style="font-family: inherit;">8. <i>Witches of Eastwick- </i>Lame. </span><br />
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<span style="font-family: inherit;">9. <i>Roger's Version- </i>Once again not a book that I know well. Whoever compiled this list did well. Maybe my above comments are incorrect, these lists serve some purpose.</span><br />
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<span style="font-family: inherit;">10. <i>Just Looking: Essays on Art- </i>AHA! Here is the art book. Of the three secret things, Updike covers all but this in the novels we have covered. Clearly we needed to do our homework next time and consider more works outside of the mainstream. After all, Updike wrote for over fifty years so naturally some works might fall between the cracks. </span><br />
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<span style="font-family: inherit;">So, overall this list is incomplete to me because I haven't covered all of them. But further it means that Updike was noteworthy enough to warrant a list of his own.</span><br />
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<span style="font-family: inherit;">As far as <i>Picked Up Pieces </i>is concerned, to understand Updike's criticism you have to first look at his "rules for criticism." There are five of them and they go as follows:</span><br />
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<span style="font-family: inherit;"> <span style="line-height: 19.200000762939453px;">1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt.</span></span><br />
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<span style="font-family: inherit;">2. Give him enough direct quotation—at least one extended passage—of the book’s prose so the review’s reader can form his own impression, can get his own taste.</span></div>
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<span style="font-family: inherit;">3. Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy precis.</span></div>
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<span style="font-family: inherit;">4. Go easy on plot summary, and do not give away the ending. (How astounded and indignant was I, when innocent, to find reviewers blabbing, and with the sublime inaccuracy of drunken lords reporting on a peasants’ revolt, all the turns of my suspenseful and surpriseful narrative! Most ironically, the only readers who approach a book as the author intends, unpolluted by pre-knowledge of the plot, are the detested reviewers themselves. And then, years later, the blessed fool who picks the volume at random from a library shelf.)</span></div>
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<span style="font-family: inherit;">5. If the book is judged deficient, cite a successful example along the same lines, from the author’s ouevre or elsewhere. Try to understand the failure. Sure it’s his and not yours?</span></div>
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<span style="font-family: inherit;">To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in an idealogical battle, a corrections officer of any kind. Never, never (John Aldridge, Norman Podhoretz) try to put the author “in his place,” making him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys in reading, and all our discriminations should curve toward that end.</span></div>
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<span style="font-family: inherit;">Basically the main thrust of these rules is technical in nature and asks the reviewer to limit the scope of the criticism to everything that the author intended. <i>Pieces </i>does this almost to a fault. In fact, this work of criticism is sometimes too nice and gives authors too much credit. I think this speaks to Updike being new at criticism and perhaps not wanting to step on too many toes. But he does follow his rules and consider the realizations of criticism that everything is on the table and most importantly, after recognizing the boundaries that the author created, everything is fair game.</span></div>
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<i>Picked Up Pieces </i>is the first try of a man to enter the world of criticism and I give Updike much credit for crossing the boundary into "the other side" from author to critic. It's tough for me to read but somewhat makes sense. Updike proves that he is America's man of words with this and his other criticism because he successfully expands his career into writing all sorts of genres. </div>
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Professor Myers is a working critic and he responds to me that Updike laid out some sort of scientific process for judging books. That by leveling the field one can critique each book based on its own merit. He cautioned me to read everything with a sharp eye and realize that there is a void between the author, the work and the critic. Much like Bernie Taupin and Elton John in their early days together as singer and songwriter the author and critic don't converse when they are working. Updike is better than most at bridging the gap by considering the author's point of view and writing to educate the audience and not be overly harsh to the original writer. I enjoyed <i>Picked Up Pieces </i>and look forward to the end of our course with <i>Due Considerations </i>in a couple of weeks.</div>
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Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com1tag:blogger.com,1999:blog-3232339121579352809.post-54404828038044310272012-11-08T18:07:00.001-08:002012-11-08T18:07:30.448-08:00Terrorist and The End of a Career<i>Terrorist</i> was published in 2006. John Updike died in 2009. This was one of his last novels and his last political novel. Obviously drawing from post-9/11 sentiment in America as well as the difficulty of Islamic issues and tensions in the country; <i>Terrorist </i>is the story of an Islamic youth and his struggle to become a man. Terming this novel as a bildungsroman is not exactly correct because the story is not totally a journey of coming to age. Ahmad Ashmawy Mulloy is the teenage son of an Egyptian man, who abandoned his son when he was three, and Teresa Mulloy a woman lapsed in both her Irish heritage and her birthright Catholicism. Living in northern New Jersey, the young man has a strong belief in his faith and is the prized pupil of the local imam, Shaikh Rashid. Ahmad early on has a school scuffle with a boy who accuses him of having desire for the boy's girlfriend. Ahmad not only avoids the fight but also represses his sexuality toward the girl because he believes that is what God asks of him.<br />
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Continuing on, Ahmad is pushed by his guidance counselor to attend college after he completes high school. Ahmad is a good student but chooses to become a truck driver because he believes that higher leaning is dangerous and against God's plan for him. He feels that being a driver will allow him to work with his hands and keep himself closer to God.<br />
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Ahmad is drawn into an Islamic terrorist plot to blow up the Lincoln Tunnel. He will fill his truck with explosives, block the tunnel and suicide bomb the tunnel all in the name of Allah. Now, your author has several issues with the above scene and the author who created it. First, I am a proud American. I have proudly proclaimed, "God bless America; and nowhere else." This country has lost thousands of lives to international terror. Oklahoma City, New York, Washington DC and Pennsylvania have all felt the scourge of terrorist action on this soil, not to mention Americans have been killed abroad in places like Somalia, Libya, Lebanon and Afghanistan fighting terror. My grandfather, great-grandfather and two uncles all served this country in the military and my great-grandfather lost his life in Korea defending out liberty. My father is a firefighter and I know he feels the sorrow and pain of FDNY losing 343 valiant men on 9/11 simply doing their jobs. In short, I have no tolerance for radical Islam. Those people hold no value for this world and their lives in it for them to do what they have done. I defend our support for the fight against global terror and the plight of Israel as they defend their sovereignty in the world.<br />
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Now, having said that, I think of Updike. And I think of <i>The Coup</i> where he wrote about Islam in Africa. That novel was political and included beliefs and lifestyles that are outside the norm for a chronicler of the suburbs. I feel that he did it well in <i>The Coup</i> but in <i>Terrorist</i> he is out of touch. He doesn't accurately depict what drives the young Ahmad to do what he does. Ahmad is an American and lives a good life (or as good a life can be led in New Jersey) and never in the novel do I really understand what drives him.<br />
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In the end Ahmad does not follow through with his plot, being told by his counselor that the plan is known by the FBI and they are ready to apprehend him as soon as he enters the tunnel. Again this detail is not fleshed out well by the aging Updike. It saddens me to see such a master at a loss within his own work. He forgets that the devil is in the details, and that minutiae that made him famous is lost in the work. He tries to jump on the political sentiment in the wake of 9/11 and the new opinions on Islam in this country. But, by 2006 he is somewhat late. So, a day late and a dollar short Updike publishes a novel that is short on details and long on ambitions. Melding the suburbs and a new idea like radical Islam should have been right up Updike's alley. But because he is lacking in detail the work falls short of what is promised. I wish I had never read this one because it diminishes my opinion of the author. As Kenny Loggins says, "You gotta know when to hold em, and when to fold em." And, like the proverbial cowboy having defeated the bad guys, Updike should have known when enough was enough, and he should have rode off into the sunset and left this book in his pocket. We all would have been better off.Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-1210177635015219562012-11-02T06:29:00.000-07:002012-11-02T06:29:00.218-07:00Spiritual IffynessJames Yerkes wrote a book about John Updike's thoughts and messages on religion. Yes, one author wrote about another and they both used printed media to spread their message. Somewhere the space time continuum is collapsing. Yerkes, whom I give credit for having studied Updike far longer and deeper than myself, quotes Updike by saying that there are three great "secret things" in humanity: they are sex, religion and art. This gives me pause; first because if I had known that two months ago all of this shit would have certainly been easier to write. The other is because of how these things are found in the <i>Rabbit </i>books.<br />
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Sex is not gratuitous in the <i>Rabbit </i>novels. There is no great love for the physical act found in Rabbit. Even in his younger days he seemed tired of sex, as though during his high school days and time in the Army he had had his fun. But these are not the sex novels. We covered sex and Updike's thoughts on the subject are contained in <i>Couples. </i>So, moving on.<br />
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Art. At this I shrug my shoulders. Rabbit is no art fan. Brewer is devoid of artistic culture, there is no Short North district there and no public sentiment that more art is better for the city and its denizens. I have yet to read Updike's "art" novel and I am doubting if there is one. But, the interesting thing here that leads into religion is this: Brewer, Pennsylvania is completely devoid of those sacred institutions of the spirit. This town never had an artist or a gallery. Never contained a live theater nor were there citizens who clamored for it. Hmm. I believe that I have discovered the "fatal flaw" of Harold "Rabbit" Angstrom and his universe and it is this: because there are no temples to the human spirit and no celebrations of human existence, the people lead empty lives. When they encounter hardship and tragedy, they look for answers. However, because there is no beauty and no spirituality they are left looking around for something that never existed. So, because they do not know what they never had they feel empty but do not understand why.<br />
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For the third secret thing, we have said much on religion and Updike. I am finding that because Rabbit has no real religious institution to turn to (even one he despises or forsakes) he is left at a loss when things in his life go badly. For Rabbit there is no beauty and no faith. He is caught in a spiritual iffyness because he wants to do good and be positive, but those tasks become difficult when he never knew really what was good and what was bad. It is like this: if all a person ever knew about art were paintings by Monet he would be a poor judge of art. Not because Monet is a poor artist, but because the world of art is so much wider and fuller than one artist, not to mention the forms of art that occur outside of the canvas. The same can be said for spirituality. Rabbit has never had real spiritual awareness because there is no outlet for it in Brewer. He is caught with a vague notion of what is good and no way to exercise it. Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-18812602527506430942012-10-31T17:52:00.002-07:002012-10-31T17:52:21.210-07:00Death in a Bathtub<br />
<div class="MsoNormal">
Rabbit Angstrom is a man awash in a sea of meaningless life.
I have covered already his struggles with race and an evolving world in <i>Rabbit Redux.</i> But, there is one instance where rabbit finds
meaning, loss and a necessity. One thread that Updike spins throughout the tetralogy
is the death of Rabbit’s infant daughter, Rebecca. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
She dies shortly after her birth in <i>Rabbit Run. </i>She has no speech and no character development. This
child is a sticking point of feud for Rabbit and Janice because they already have
one child that they are ill prepared to care for in Nelson and they cannot
manage as a family with two children. Rebecca is unwanted from the start; poor
thing never had a chance. Janice and Rabbit have a row, Rabbit leaves and
Janice settles into the bath with Rebecca. Peace and calm are found in the
soothing mist and warmth of the tub for Janice. However, this proves too
calming as Janice drops the baby as she falls asleep and wakes up in a gray tub
with a drowned infant. Janice is paralyzed, though not a nurturing mother to
wither of her children, she is floored by her action (or inaction, really the
proof of negligence or knowledge is left to the reader; as a positive person I
like to think the she fell asleep under pressure and did not intend to drown
the child) and is in shock at the outcome. Rabbit thinks for years after of the
scene in his home and his final act of pulling out the drain plug to allow the
murderous liquid to run down the drain and into the sewer. His act of first
rolling up his sleeve and considering the water that killed his progeny is
horrifying to me. Looking a killer in the face is difficult, but when the
killer is a liquid enclosed in a benign basin like the bathtub must be the
hardest of all. The water did no more than it was supposed to; it warmed the
bodies of mother and daughter, cleansed their skin and gave them calming
comfort. It would be different if a human had killed the babe or if a raging
inferno had claimed her soul. But water. In a bathtub. Horrifying that it occurred
that way. Harry feels more than guilt and anger. He blames Janice and yells at
her, but really he blames himself for more. He goes so far as to blame himself
for impregnating in his words “that mutt of a Springer with her thin bangs and
tan skin,” he runs away at her funeral giving the first novel its name.<o:p></o:p></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>Rabbit Redux</i> is
full of guilt and shame. Janice sleeps around and moves out to forget the
horrors. She cannot forgive herself or Harry for the loss of a child. Nelson
feels neglected with a different form of survivor’s guilt than normal because
though he is the child that survived, he feels anger than he is forgotten by
his parents. In their loss they don’t care for their only remaining child as
they should. Harry allows him too much exposure to drugs, sex and radical
ideas. Janice for her part completely cuts him out except to take him shopping.
Nelson is not given the upbringing he deserves and his parents pay in the end
with his cocaine addiction and how he loses the family business in the end.
Instead of shame and loss, the parents should have remembered Rebecca and
thanked God that they have a child remain. <o:p></o:p></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>Rabbit is Rich </i>finds
Angstrom expansive in both waist size and demeanor. Harry has hopped into some
luck as a successful Toyota dealer. He sells cars without passion though. He also
has sex without passion all around town and plays dispassionate golf. He is
middle-aged and killing himself with 1970’s hydrocarbons and foodstuffs.
However, though he sucks down massive amounts of TV dinners and leaded gasoline
smog, he cannot forget the daughter that he lost. Rain makes him think of Rebecca
as does Janice’s midafternoon drunk that comes around six days a week. Wasting her liver away with Campari, Janice
cannot forget the crime she committed against her baby and she does not forgive
Harry for she thinks that their fights and her stress caused it. Harry cannot
leave the memory behind; it is though a ghost child follows him everywhere. He
gets so nervous that he leaves in the middle of the night and drives through
Pennsylvania to Virginia in search of peace. His thoughts are heavy. And though
he drives many miles, slams doors, eats at diners and sleeps in cheap motels he
knows that eventually he must return. He is shackled to his town, his cars and
his woman as well as the horrifying scene he found in his bathroom so long ago.
It is as though he drives with a bathtub chained to the back of his car; every
mile and every exit, every turn and every route he takes but he cannot shake
the truth. That bathtub, ominous and brooding, full of life and death as well
as the dead body of an infant girl, Rabbit can shake none of this. For richer
or poorer, better or worse, sick and in health, Rabbit remembers the tub and
reaching into the lukewarm killer to release it into the world.<o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-38677254856562577372012-10-22T18:36:00.002-07:002012-10-22T18:36:33.685-07:00Rabbit doesn't care about cars.<br />
<div class="MsoNormal">
In <i>Rabbit is Rich, </i>there
is a lack of spirituality that permeates the entire story. Rabbit is a Godless
man in a lacking world created by Updike. He attends no church, has no epiphany
and feels nothing new. He compulsively sleeps around, but just as easily would
sleep with his wife. He is a serial philanderer and is bored with sex and bored
with his life. He plays golf but dislikes his partners. Rabbit sells cars but
lacks the depth to care about what he is selling. He could just as easily sell
other products.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is the key point to me. A man with soul loves his car.
A man with heart works on his car. And a man with pride shines the emblem on
the hood and proudly wears his fuel injected, piston powered, overhead cam
fired heart on his sleeve. Cars are a way of life to me. I am proud to be the
great-grandson of a machinist, grandson of a body man and son of a mechanic. I
have been in garages and shops since I could walk. My father has built and rebuilt vehicles for
the better part of thirty years. He has
an innate ability to work with his hands and produce a strong running machine.
He began working at Newlon Chrysler Dodge Jeep and Eagle before I was born and
cut his teeth on 2.2l powered K-cars and minivans as well as seeing the last
days of the 318 ci V8 in trucks and big cars. But this passion for cars,
especially Mopars, is something that he has passed to me. He has what Rabbit
lacks. Rabbit sees the cars as appliances, necessities that transport people
here and there and nothing more. And as far as cars are appliances, the small
ricer machines he sells are the epitome of that. Small, cheap, underpowered and
Spartan interiors abound in Toyota products of the 1970s. Now, the 70’s were
not a kind decade to the Chrysler Corporation. But look at the difference:<o:p></o:p></div>
<div class="MsoNormal">
Notable Chryslers:<o:p></o:p></div>
<div class="MsoNormal">
-Chrysler Cordoba<o:p></o:p></div>
<div class="MsoNormal">
-Dodge Challenger<o:p></o:p></div>
<div class="MsoNormal">
-Dodge Charger<o:p></o:p></div>
<div class="MsoNormal">
-Plymouth Road Runner<o:p></o:p></div>
<div class="MsoNormal">
-Plymouth ‘Cuda<o:p></o:p></div>
<div class="MsoNormal">
-Plymouth Duster<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notable Toyotas:<o:p></o:p></div>
<div class="MsoNormal">
-Cressida<o:p></o:p></div>
<div class="MsoNormal">
-Corona<o:p></o:p></div>
<div class="MsoNormal">
-Carina<o:p></o:p></div>
<div class="MsoNormal">
-Celica<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Chrysler cars above connote power, comfort and speed.
Even the cheap Plymouth Road Runner could be had with Chrysler’s Hemi engine
rated (more like underrated) at 425 factory horsepower. But that engine block
can be modified and worked over to produce in excess of 1,000 horsepower. They
were large and had a long and low and wide stance. Toyotas are tin crapboxes
that can’t get out of their own way. Would you rather have a 1970 Plymouth ‘Cuda
breathing fire with a 440 ci V8 pushing 390 hp, three two bbl carbs on top with
rallye wheels and purple paint? Or would you prefer a Japanese made Cressida
with a 2 valve per cylinder I-6 pumping out a brutish 108 hp? In the words of
Eleanor Roosevelt, as quoted in <i>Talledega
Nights, </i>“America is all about speed. Hot, nasty, badass speed.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have strewn way off topic to once again proclaim my love
for the Plymouth brand. But, men who drive Plymouths are like me and my father,
men who care about how fast their car is and know how to make it faster.
Soulless men like Rabbit drove Cressidas and got their doors blown off at every
stop light. Not because the Plymouth driver is mean or brutish, but because he
can blow the doors off the Cressida. And in that ancient maxim: the strong do
what they will, and the weak do what they must. Give a man a Plymouth, and make
him a car guy for life. Give a man a Toyota, and he probably doesn’t care about
much. <o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-56805679939268446632012-10-18T08:53:00.001-07:002012-10-18T08:53:49.147-07:001979<br />
<div class="MsoNormal">
This novel is the reason that I began to read Updike at all.
It was also one of the first novels that brought me to consider writing as more
than an academic necessity. The words on Rabbit are many, and I would say that
this novel <i>is Rich </i>is the flagship of
the series. This is Rabbit at his peak; he has his life together…mostly. He
runs the dealership and has reconciled with Janice. They live together with
Janice’s mother. Seemingly this was their idea for a place to stay after the
fire in Penn Villas and it has gone on for ten years. It is now 1979, Skylab is
falling, Detroit’s Big Four (including AMC before they were bought by Chrysler
in the 1980’s) are at the height of malaise (big, slow cars that were poorly
built and engines that were completely detuned and smogged out thanks to the
bastards at the EPA) and Rabbit golfs. He sleeps around and is infatuated with
Cindy Murkett, the curvaceous blonde wife of his golfing partner Webb. It seems
that Rabbit is not greedy, but is never satisfied. He doesn’t work hard for
what he has, so he has no idea of its value. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Further because he doesn’t work
hard he doesn’t have a good idea of how to attain more. So he has what he has,
and it is very nice comparatively, but he aspires for more because he is
clueless. <o:p></o:p></div>
<div class="MsoNormal">
Rabbit has also gotten over those odd days of harboring
Skeeter and Jill. He is content to garden and golf in the suburbs of Brewer. He
takes a vacation with other couples from the Country Club and tries wife
swapping with disastrous results. Though he has a fun night with Thelma, it
hurts his relationship with Janice. And just before he can finally sleep with
Cindy, he and Janice must rush home because Nelson’s pregnant girlfriend Pru is
going into labor.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Once again Rabbit doesn’t get it all. But he cannot see the
forest for the trees because he doesn’t know what is really important.<o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-10731818315628769622012-10-14T15:02:00.002-07:002012-10-14T15:02:57.477-07:00Back to Basics<br />
<div class="MsoNormal">
I have been remiss; this blog has not received the love and
attention it deserves. That will be rectified.<o:p></o:p></div>
<div class="MsoNormal">
Transitioning from <i>The
Coup </i>to <i>Rabbit is Rich </i>is an
interesting slide. Updike returns to that familiar enclave that launched his
career: the American suburb. Ellelou and his plight in an African nation did
not hold my interest like the minutiae of Rabbit’s life does. I empathize with
Ellelou, he is trying to move heaven and Earth, literally building his nation
by hand, all to see it swept out from under him. He is a man who was doomed
from the start yet kept trying. He was a Muslim at heart and a Marxist by
default. His is a political tale of trial and despair. Updike really did a
great job of writing and building the world of Kush. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But, the world of Brewer Pennsylvania, USA is one that is
ready-made for the reader. Updike’s audience (me especially) can picture in the
mind’s eye an image of suburban American more readily and with clearer
definition than I can of a failing African state. Rabbit is more compelling
that Ellelou, even though I empathize with Ellelou as a leader and a decision
maker, because Rabbit is more approachable. While I am entering a conversation
on race or religion, Rabbit is more visible to Updike’s general readership. He
is a local car salesman with an adipose midsection and a taste for Schlitz beer
and the Philadelphia Phillies. He is not a Black-African-Muslim-Dictator-Russian
Ally who was college educated in the US and served in several armies as a sort
of mercenary. No, Rabbit played basketball in high school and is the son of a
union printer. He had no greater ambitions than to work and buy a house. While
Ellelou tried and failed, Rabbit never tried and found a modicum of success. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that is the key difference, Rabbit is an everyman.
Updike wrote him ambiguously and shifty enough to hold no great ideology or
dogma. He is a Republican, kinda. He does not trumpet his politics anymore but
he does vote for Nixon. While he used to drive a Ford Falcon, with an American
flag decal in the rear window no less, he now drives and peddles small, foreign
made Toyotas. He plays golf badly enough to be approachable. His wife left him, and then came back; but now
he sleeps around and tries swapping partners on a bizarre vacation in the
Caribbean. In summary: Rabbit is nothing. He is a shill, a stuffed shirt.
Harold Angstrom, a man with no college degree and dubious Swedish heritage, is
a specter of a man. In this we find the middle of America. Men who weren’t movers
and shakers and certainly could never lead an African nation; but men who can
hit jump shots and chip from the sand. Men who have unsatisfying love lives and
children they can’t raise because they can’t speak to them. Rabbit is a stand
in for the average man of the Baby Boomer generation. A group, who never really
found themselves, but let interesting lives and in the end had a compelling
story to tell. Rabbit’s is the story of millions of men: listen to me. I am a
man who never wanted for anything and received more than I could handle. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that is why Rabbit is so compelling. <o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-41768262212791116652012-10-07T14:03:00.000-07:002012-10-07T14:03:13.020-07:00Contradicitons Abound<div class="MsoNormal">
Updike steps outside of the comfort of American suburbia for
his novel, <i>The Coup. </i>Here we find an
author at odds with himself, toeing the line between fiction and reality.
Hailed by some as his most political novel, <i>The
Coup </i>is an interesting case of contradictions.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To begin, Ellelou’s government in the novel is a form of
Islamic Marxism. This brand of rule is a contradiction within itself. Islam is
a government and ideology and religion all rolled into itself. Islam recognizes
no other government or rule for man that that of Allah himself. <i>Shariah </i>law dictates the lives of
Muslims and supersedes all other forms of government that man might create for
himself. So in this state of Kush, composed of tribal villages and farms, there
was largely no need for a Marxist dictator. The people through their faith and
local customs govern themselves. National government did not bring about
sweeping changes for the local populace. Being farmers they never had the
industrial infrastructure that other socialist states like China and Soviet Russia
did. Thus, there were no factories to bring under state control and no private
wealth to redistribute. This makes Ellelou largely unnecessary. While he looked
inward to Kush to solve some issues of starvation and disease, he should have
been looking outward. Reaching out for more foreign aid revenue could promote
new agriculture and foreign investment could put his people to work in
industrial jobs. This is what created his downfall. In a bloodless turnover of
power, his Minister of the Interior works with the American government to bring
in foreign aid and industry, two things which Ellelou detested.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But further this novel is a contradiction because it is a
work of fiction. To the author, fiction can be a contradiction. He has control
over everything in the story; as the characters are fictional he can bend them
to his will and shape them in his (or another) image. However, that much power
can become a problem because in the writing it can get out of control. Politics
and fiction do not normally mesh because they belong to separate worlds. All
politics is work of physical men and women. It is real and tangible. Fictitious
politics are the work of one man: the author. His political views and opinions
and workings always shine through into the novel. No other input is required.
In the writer’s world, good guys share his political views and the bad guys don’t.
Take Updike, his Islamic-Marxist dictator rules over a starving country that
has seen drought for five years. But, when he is overthrown in favor of a
pro-American man who is a dubious Muslim and has a taste for foreign clothing,
the rain returns, foreign aid pours in and seemingly Kush becomes a far better
place. As an American, Updike’s disdain for Russian-style communism shows when
Ellelou, the Soviet ally and former soldier, is cast aside for a softer man
favorable to Western powers and ideas. Ellelou has a heart of gold and
genuinely tries for his people. But when the chips are down and the buck stops
here and other overused colloquial sayings are needed, Updike casts aside his
warrior prince to make way for a silk-shirted, pro-American man who rules by
the numbers. And in between, Ellelou is cast into exile.<o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-24677470105112559962012-10-03T07:58:00.004-07:002012-10-03T07:59:20.880-07:00Making Something out of Nothing<br />
<div class="MsoNormal">
OK, role play time. Picture yourself in the following
situation:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-You are the revolutionary leader of a sub-Saharan African
state.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-Your revolution brought into power a fascist state based
upon two ideas seemingly at odds, Marxism and Islam. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-Your third world country is mainly subsistence farmers, and
those precious goods you do manage to export are cash crops dependent on
floating world market prices<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-Your people yearn for Western goods and ideas, but you
quash their access in the name of the revolution that brought you to power.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-Oh, and finally there has been a drought in your country
for the past five years, baking the ground hard as clay and forcing a famine
onto your already struggling people.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you were given the above scenario and considered it in
your mind, you would see that it is a tight spot. However, if you are Colonel Ellelou
in <i>The Coup, </i>this is not a
hypothetical; this is real. Ellelou is a former French colonial soldier who has
travelled the world, studied at a college in the United States and returned to
his native land to lead a revolution and become President. This novel is set in
1973 and the Cold War is dividing the world. Under his reign the nation of Kush
has signed an agreement with the Soviet Union and allowed Russian missiles to
be planted in bunkers in the country. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He is a proud man how holds fast to both the ideals of Islam
and Marxism. He has four wives but it is in doubt if any of their collective
children came from him. He also prays morning noon and night and does not
partake in drugs or alcohol. Further, Ellelou believes in a socialist system
but does not have a social economy. The problem lies in the fact that socialism
doesn’t work when there is nothing to socialize. Kush had no banking system to
be nationalized and no manufacturing economy to be governed. This is a former European
colony made of differing tribes who want no central government.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Critics called this Updike’s most political novel, and I
have to largely agree. Not because it contains party politics or the thrills
and drama of American political showmanship, but because <i>The Coup</i> is government at a basic level. This novel is a story of
statecraft. Considering the above scenario, how could one person ever hold all
of that together? Well, Ellelou tries. His policies try to make Kush a fair and
honest land. Really, in building a nation from the ground up, it is a wonder
that any one man could do it at all.<o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-75691492269168101082012-09-27T12:10:00.003-07:002012-09-27T12:10:32.949-07:00Prose and Style as presented by America's Pastime <br />
<div class="MsoNormal">
John Updike is not a character in <i>Rabbit Redux. </i>His personality does not enter the narrative as a
character, narrator or theme. Updike created the world and sits above it and orchestrates
the events to unfold, but rarely does he enter it himself. Letting the reader
draw conclusions is the best form of writing, as it allows for more
interpretation; and in this world of Post-Modern fiction everyone has a voice. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As a sidebar, do not be afraid to read and interpret what
you read. Draw your own conclusions and make your own statements. Once the
novel is published, the author has no more authority over it than anyone who
chose to pay money to read his work. The author is beholden to you, the
audience. Not the other way around. Civilization has not stopped because a book
went unread, and no author is above criticism. I learned this fact last winter
when attending my contemporary literature course. We read <i>Break the Skin </i>by Lee Martin and then had a seminar with him
because it was an interesting novel and because he is also a professor here at
Ohio State. In this meeting, we asked questions and discussed the work. He was
happy to oblige, especially at questions that were critical of his writing
style or questions that him why he made the choices he did regarding plot,
setting and characters. I enjoyed this session immensely and found that authors
are not above the criticism. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But back to this author and this work, Updike is not a
player in his own works. Rabbit and friends are not reflections of the author.
While Rabbit is overweight, of average intelligence and oafish; Updike in his
living years was thin, handsome and in the know about politics and foreign
affairs. While Rabbit is not a reflection, he is also not the opposite. Every
work comes from the author’s own experience. And Updike, being the All-American
man of words that he was, made Rabbit in his image of experiences and people.
Rabbit is a combination of all the things that Updike likes in humanity,
dislikes in humanity and things in his own character that he lacks or
appreciates. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i>Redux </i>there are
certain passages that are written that are clearly Updike’s hand entering into
the world. Early on when he, Nelson and
Janice’s father attend a baseball game, Updike says this:<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
“But something has gone wrong. The
ball game is boring. The spaced dance of the men in white fails to enchant ,
the code beneath the staccato spurts of distant motion refuses to yield its
meaning. Though basketball was his sport, Rabbit remembers the grandeur of all
that grass, the excited perilous feeling when a high fly was hoisted your way,
the homing-in on the expanding dot, the leathery smack of the catch, the formalized
nonchalance of the heads-down trot in toward the bench, the ritualized flips
and shrugs and the nervous courtesies of the batter’s box.” (Page 88)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I assure you that speech like this is reserved by the author
for his own private use when he is attempting to speak on something grand and
mystical. Rabbit, nor none of his brethren in this world, never EVER use this
style of speech. They don’t say things like staccato or perilous. Their
nonchalance is stated as awkwardness or uncertainty. Updike never allows his
characters to be cool enough to be nonchalant. No, here Updike is speaking in
terms of Baseball. Baseball, that magical game that contains all of America’s
hopes and dreams; the pageantry and pride of a nation resides in a strange game
derived from its British father, rounders, and its Indian cousin, cricket. The
Game. Updike says that baseball is fundamental to Rabbit’s world in that it is
the height of sporting prowess. Rabbit can’t achieve it, he is forever stuck in
sweaty gymnasiums; banished to the cold dark winter months where sport can’t
flourish outside and must be kindled like tinder in square boxes containing
hoops and men in shorts until it can return in full flame to its sconce on the
diamond. Baseball. Updike captures the essence of a nation in such a simple
game. Rabbit can’t fully comprehend it because Updike won’t allow him to do so.
No, Rabbit. Your victory and pride have passed, but even at your height you
could not obtain this greater glory. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In this passage and others like it. Our author speaks from
outside but is looking inward. He sees the majesty of the game, but it’s
complete mystical power eludes Rabbit; it goes over his head like another fly
ball escaping the yard. <o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-28388090760262827642012-09-26T09:07:00.001-07:002012-09-26T09:07:12.989-07:00Summer of Love? <br />
<div class="MsoNormal">
Defined by William James, pragmatic morality is “whatever
works.” Neither reflecting on past experiences nor looking too far ahead,
pragmatism sees the situation at hand and responds to it. It is not inherently
good or evil, but very neutral thinking. Rabbit Angstrom is a pragmatist, and
that fact comes to full fruition during <i>Rabbit
Redux. </i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like Theodore Deeiser’s <i>Sister
Carrie</i>, Rabbit is a “waif amid forces.” In his own world, not ours but the
one that John Updike created for him, Rabbit is a reactionary and a fatalist.
His actions account for nothing and everything is predetermined. All he can do
is attempt to respond to events and occurrences. This is why, in the summer of
1969, he places an American flag decal on the back of his Ford. This is a
symbolic sign of protest. He is against the hippies, college students and
minorities that are raising their hands and voices in protest of a poor
economy, President Nixon and the Vietnam War. Rabbit also has feelings on the
war itself; while sitting in a Greek diner with his son, wife and Charlie
Stavros, he pleads a case to the peacenik Janice and Charlie that Vietnam would
be a better place if it were devoid of human existence. Rabbit is a true member
of Nixon’s “Silent Majority” but he is not so silent; nor is he a fan of Nixon
saying that he is an ignoramus who happened to end up in the White House. Being
an ignoramus himself, Rabbit would wish that Nixon was also a passive character
in his own life. Rabbit yearns to find others like him, those few who plod
through life without direction and happen into situations that they don’t want
to take credit for or realize how the situation was formed. No, Rabbit is
alone. In all of Brewer there are precious few who allow themselves to not be the
hero of their own life story.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The summer of 1969 dominates the surrounding context of this novel. And though Rabbit
would not admit it, he is involved in his own free love situation. Janice, living
across town with Charlie, has left Rabbit and Nelson alone in the ranch house
in Penn Villas. Rabbit finds himself playing host to Skeeter, a Vietnam vet and
possible fugitive as well as Jill, an 18 year old girl from the Connecticut upper
crust who has run away from home. Rabbit, passive character that he is, allows
them to live rent free and begins sleeping with Jill. Jill also has trysts with
Skeeter in exchange for drugs. Pot and heroin abound in this small suburban
home. Through nightly readings of Skeeter’s books, Rabbit becomes intimate with
black culture and black thinking. These speeches by Frederick Douglass and
Malcolm X make the reader see what Rabbit truly lacks: empathy. These speeches
ask him to consider something outside of his own skin, and every time he cannot
comprehend thinking outside of his own. Rabbit is not empathetic. This is why
he is so heartless to his parents, lacking in recognizing what Nelson needs and
his failure to see Janice as more than a functionary of his household. Empathy
is the key to this novel. Who, in Updike’s world, has it and who doesn’t is
what drives the plot and action. Empathy determines why Rabbit can’t move
himself forward.<o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-59288039984584577382012-09-19T20:16:00.002-07:002012-09-19T20:16:50.002-07:00Why Rabbit?<br />
<div class="MsoNormal">
Why Rabbit? Why pick a seemingly insignificant man to write
a tetralogy about America from the late 1950s to the end of the 80s? Why not
pick another one of your characters, Updike? Why not the novelist Bech or the
builder Hanema? Harold “Rabbit” Angstrom, US Army veteran of Mt. Judge,
Pennsylvaina, former basketball star and father to Nelson and the deceased
Rebecca was a man of no great courage. He was not the man to become anything.
His glory began and ended before he ever got married or earned a paycheck. In <i>Rabbit Redux </i>he is a union linotyper
working alongside his father until he is laid off. He lives at first with his
wife Janice and son Nelson in a new development outside of Brewer at Penn
Villas, your typical
middle-class-ranch-home-Ford-in-the-driveway-conservative-roast-beef-eating
subdivision. This home ends in fire, which will be discussed more later. But,
the fact is this; Rabbit Angstrom was the ideal candidate on which to write not
one but multiple novels.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Page 4, “The small nose and slightly lifted upper lip that
once made the nickname Rabbit fit now seem, along with the thick waist and
cautious stoop bred into him by a decade of the Linotyper’s trade, clues to
weakness, a weakness verging on anonymity… years have pass since anyone has
called him Rabbit.” Rabbit was for the time a shape shifter. Any one reading
this novel set in 1969 could form Rabbit to be themselves or anyone they knew.
A weak, former athlete listing sluggishly and slovenly into an overweight
middle age was almost the calling card of the White, blue collar American male
of the day. Everyone was Uncle Rico from <i>Napoleon
Dynamite. </i>These men wore blue pants, drank beer from a can, toiled in rough
union jobs, drove a Ford and would pay dearly for the privilege to live such a
life. Updike chose Rabbit and made him who he was because of his malleability.
When you read this novel, you can think of someone like Rabbit. A man who can
stand on his own feet, but financially barely so; and physically hasn’t seen
his feet since he was feeling up girls in his dad’s car on Friday nights after
playing fullback for his high school. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rabbit is like this. He has no future that we can see, and
this is the second book that he is featured in. His marriage is in tatters
within 50 pages of the start; Janice, having decided she liked the company of
lecherous old Charlie Stavros, a salesman at her father’s dealership, moves
out. She leaves Rabbit and Nelson alone in their split level eating TV dinners
and watching <i>Laugh In</i>. To add insult
to injury, and though she works at her father’s Toyota dealership, she takes
Rabbit’s trusty Ford Falcon with her. Rabbit is forced to ride the bus across
town, sitting with old ladies and black kids that he despises. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The point is this: everything that happens to Rabbit just happens.
Because of his attitude it is largely outside of his control. These events, the
death of a child, the breakup of a family and a house burning down can happen
to anyone. Updike wrapped all of this up and made it happen to the one, the
only, the Everyman, Harry ”Rabbit” Angstrom. <o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-65134466867909372652012-09-17T15:48:00.001-07:002012-09-17T15:48:21.691-07:00An Affair, and Why You Should Support the NHL Players<br />
<div class="MsoNormal">
Before she says it, you can tell that Janice is sleeping
with Charlie Stavros and not Rabbit. Why? What drives people to do what they
do? I don’t know, maybe a better question borrowed from Ayn Rand is: “Who is
John Galt?” Janice sleeps around not only because she likes the feeling and the
excitement but too it is a rejection of Harry. Her husband after the tragic
drowning of his daughter Rebecca, has decreed that he will father no more
children. Further their marriage is hollow with the loss of sex. Rabbit works
all day and spends his evenings alone with Nelson while Janice holds up the
pretenses of a job at her father’s car lot while she bangs Stavros on the side.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This loss, and the news on the tv in the background, makes
me think of the current losses on both sides of the new NHL lockout. Both sides
are wrong and right at the same time. Janice wants children and excitement but
can’t see that she is not a good mother or a good wife. She is flighty and
unprepared for the world. Rabbit, while wrong to hold out from his wife the
opportunity to bear more children, is too grounded. He makes no attempt to
piece together his life after the loss of his child, nor does he appreciate the
joys of the son he has left. So, hockey. Owners feel the squeeze because of
rising player salaries and more costs in running a team. Players, whose talent
diminishes in value every day they grow older and every time they step on the
ice, feel the squeeze because of bad ownership and declining opportunity. I
side with the players because unlike regular wage laborers who have decades to
make their money, have but the short time between the draft and
injury/retirement/unsigned free agency to make their money. Think about it. If
I promised you a salary of $50,000 for thirty years guaranteed, or the chance
to make $10,000,000 in the space of a few years in your 20s, which is the more
secure choice? Hockey players have little job security. One bad season, one
injury or one bad owner can force you out. And then where are you? In your 20s
with little or no real world training and you have to survive until your death
knowing that your greatest times are behind you, that’s where. The players are
a product of an entertainment economy and rely on the largesse of the American
economy for a paycheck and a brief few moments of glory. Rabbit Angstrom felt
this in high school with basketball.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maybe that’s why Janice wants excitement; she never had her
basketball moment. She went from high school to marriage to losing a child to
middle aged boredom in the blink of an eye. Never did she feel the eyes on her,
the people hanging their emotions on her performance in an arbitrary event, nor
did she feel the post-game glory and warmth of the loving fans who appreciated
her efforts. I would advocate that everyone go enjoy themselves and feel proud
of themselves and that hockey fans support the players against the owners in
this new lockout.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Go Red Wings. <o:p></o:p></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-13033979431685831212012-09-13T20:32:00.001-07:002012-09-13T20:32:22.981-07:00MG cars and Vespa scooters<br />
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In <i>Couples </i>the
people described are different. Not in their houses, which are large and well
appointed, and not in their clothing which is standard fare for wealthy
Massachusetts residents of 1962; especially Piet’s often mentioned apricot
windbreaker jacket, no the difference lies in their automobiles. Their cars,
that everlasting symbol of American freedom and prosperity, are not American
and they are not main stream. These people, in an air of superiority and conspicuous
consumption, drive foreign autos which are not only expensive to purchase, but
expensive to maintain.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In an effort of full disclosure and transparency,
your author must state the following: I am an ardent believer in American cars.
I love American car companies and the vehicles they have made and make today.
No Asian or European car, to me, has the passion or power or beauty that a
proud American car has. They might build some models here, and might employ
some non-union workers, but they will never be as iconic as the great
nameplates that are home grown. Further, I am a Chrysler fan boy. From the
original 1920’s Chrysler Six, to the 1955 Chrysler 300, to the 1971 Plymouth ‘Cuda,
to the original Dodge Caravan that saved the company to the 1993 Jeep Grand
Cherokee that I spent much of my childhood in, to the small block Hemi powered
cars and trucks today I love them all. Chrysler, regardless of Italian and UAW
ownership, is an American company. They build Ram trucks in Warren, Michigan,
brand new 300 horsepower Pentastar V-6 engines in Trenton, Michigan, new high
tech transmissions in Kokomo, Indiana and Jeep Wranglers in Toledo, Ohio. I am
proud to support such a great company that at one time was the tenth largest
corporation in the United States. However, being a social elite, the Hanemas,
the Thornes and the Whitmans do not share my sentiments,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Unlike the “workingman” Piet, who drives a green Chevrolet
truck, all of the vehicles mentioned in the novel are foreign, specifically
European. Angela Hanema drives a Peugeot, a French sedan; Foxy Whitman drives a
MG, a British sports car, and in the greatest mockery of American automotive
might, Freddy Thorne drives a Vespa! A grown man, tooling around a Massachusetts
town on an Italian scooter, I would be aghast if one of my parents’ friends
rode a scooter as his daily driver. But, more perspective is in order.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This novel is set in 1962. According to the
automotive historian at ateupwithmotor.com, during this time 1 out of every 9
new cars sold in the US was not only a Chevrolet, but was a specific Chevy
model. That’s right. 11% of all new car sales were Chevy Impalas. GM held so
much market share in the early sixties that they pulled factory tech support
for every level of auto racing, NASCAR and NHRA drag racing included, in the
fear that they would sell <i>too many </i>cars
and be hit with anti-monopoly charges by the US government. I am sure that GM
would love to have that problem today. Toyota didn’t come over until 1957,
Honda in 1969. And until the gas crisis of 1973 these cars were largely an
afterthought. Small and unrefined, powered by dinky four cylinder engines and
lacking the luxury and panache of American cars, these Japanese cars were not
strong sellers. Even the European cars, like MG sportsters and Mercedes-Benz
were overshadowed by American Corvettes and Cadillacs. Further, many of these
models were only available in right-hand drive, their producers being unable to
federalize and put the driver in the correct seat. These cars did not have the
dealer support either. Parts for repair had to be shipped from Europe, a costly
and time consuming affair. Owning a European car at this time was not only
socially awkward, but expensive and capricious too. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Why then? Why did the couples own such odd cars?
Because they could; it’s that simple. They didn’t have to drive a Ford. They didn’t
need a reliable, large automobile. If the rest of their lives are so different,
their cars should be too. When dealing with consumers as these, they were not
tethered to reason. I hope that I am never in a position to choose European cars
over American, simply because they are different. And God help me if any of my
friends ride sccoters.<o:p></o:p></span></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com1tag:blogger.com,1999:blog-3232339121579352809.post-84813861275580612752012-09-11T18:02:00.006-07:002012-09-11T18:06:50.851-07:00There goes the neighborhood<br />
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">My biggest fan, and harshest critic, told me this
morning that my most recent post was unsatisfactory. She also doubted my
intimacy with the material; she told me that the audience can tell when I’m
bluffing and not speaking from a point of authority. This conversation gave me
pause. But once the pause was over and I thought once again I thought of
intimacy. <i>Couples </i>is full of intimate
moments, and the idea and practice is a central theme of the story.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">To begin, I do not think that Updike, for all his
wordiness and ability, truly can write an intimate scene. Unlike Philip Roth,
and another of my favorites Joseph Heller, Updike’s sex scenes are lacking in
the truly descriptive and frankly raunchy adjectives that readers of the genre
are looking for. When Piet takes Foxy to bed, readers want to know more than
Updike can deliver on. We want to feel their extramarital passion, see the
depths of her desire in her eyes. We want Foxy, though she is pregnant and
bloated, to seem as sexy and desirable as Piet sees her. Make her into the
object of lust and wanton desire to the reader that the characters see her as.
Updike sets out to write a sexy novel, but falls short in the sexy parts. This
subject of promiscuity and extramarital affairs seems as foreign to Updike as
open heart surgery would be to a dentist. While Updike is a great writer, and
the dentist may be an expert at his profession, the subjects of sex and
cardiology are foreign to these men in this extended metaphor. Similarly, you
would never ask a Methodist minister to direct a skin flick, so one must ask:
why did Updike undertake the effort?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">John Updike saw around him a loss in spirituality. In
America he saw people turning from the more established churches and thumbing
their noses at the Congregational and Episcopal churches. The old orthodoxy of
Catholicism was too harsh and what remains of the great Protestant churches
doing less protesting and more pandering, these facts led to smaller
congregations and fewer followers seeking the truth. Longing for the Puritan
tradition that started the New World, and all of the societal connections that
came with it, these people turned to empty sex to solve their problems. Piet
Hanema is one of these people. A man of the Earth, a builder of houses and
driver of a green Chevrolet truck, he is lost spiritually. In his home of
Michigan, surrounded by his Dutch family and his Dutch Reformed faith, Piet had
a clearer sense of self. He was the son of a gardener and a schoolboy. However,
moving to Massachusetts and working with the horse-trader Matt Gallagher has
made him a lost soul. He attends a Congregational church more concerned about
his weekly tithe than his spiritual wealth and as a result he begins affairs
with three different women outside of his marriage. Georgene Thorne, Bea Guerin
and Foxy Whitman all separately find their way into his grasp. However, it
takes two to tango. Not all of the fault lies with Piet.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In the fictional seaside town of Tarbox, there is
this social group of ten couples who would have considered themselves in the
old Puritan days an “elect”, chosen by God to intermingle with each other. Not
finding solace and sexual excitement with their respective spouses they turn
instead to other members of the social group to get their jollies. Why? How can
there be so much sexual frustration and it be so large to encompass twenty
people? Why did no one, especially the Jewish couple (Saltz) or the Catholics
(Constantines) see that what they’re doing is against their respect doctrines?
Because they have turned against the dogma and formed their own religion; this
is where they replace God and Jesus with coitus and orgasms. Updike posits that
the sexual revolution began not on a college campus and not in the great metropolitan
centers like New York or Los Angeles. But that the great, glorious revolution
began here: in a suburban Massachusetts town with a few couples that outwardly seemed
well to do and mentally adjusted. Look at the professions of the men: general
contractor, airline pilot, biologist, computer engineer, dentist, etc. And look
at the women, all had borne children into this world and some were teachers and
members of local government. These are not what you would categorize as “swingers”,
these are the “normal” people. They drive nice cars and live in nice houses and
are supposed to have nice, polite, unbecoming sex with their spouses. Never
would the casual observer see these people as sexual deviants or miscreants.
But instead this is the perfect cover, by being higher class and respectable
people they formed a great camouflage for their deviant acts. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">However deviant his characters are, Updike still
misses the true coup de grace. He could have made <i>Couples </i>one of the greatest novels of all time by including more
intimate details of the lovemaking. Sex sells in advertisement and in novels. <i>Rabbit </i>could be but a footnote on his
greatness if Updike had made his characters intimate. Make Piet desire these women
not only because his wife is cold and distant, but because he is a healthy man
and has healthy desires. I am not a fan of extramarital affairs, but if Angela
won’t give Piet enough sugar, help the reader understand why he does what he
does. Piet works as a contractor, and wants to return home the glorious
breadwinner, snatching survival from the jaws of a cruel world. However, in
seeking gratification he is snubbed by his capricious Angela. As a result, he
takes his burning libido and manliness into strange beds. Updike needed to do
more to show the dysfunction in the marriages and what drove his characters to
sleeping around. Tell us and show us why Angela Hanema is cold in the sack and
why Bea, Foxy and Georgene are so inviting to Piet. But too, tell me what has
gone wrong in the women’s lives that drove them to Piet. Finally, make the sex sexier.
I don’t want vague adjectives. This is one instance of “tell me, don’t show me.”
Updike is too foreign to the sex scenes for a man who was married twice and
fathered children. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I have enjoyed <i>Couples
</i>but find Updike too polite in bed. He clearly was not a man enthralled or
interested in sex and affairs and all of the trappings and baggage that come
with such activities. Updike was correct to explore the advent of sexual
liberation, but his ideas are lost in translation. Forty years past, this member
of the millennial generation is searching for the real smut, and finding none
relegates <i>Couples </i>to the back of the
Updike collection, a shame too, because this book had so much promise and fell
short.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This post is dedicated to my mom, Jennifer, who pushes
me every day to be the best that I can be. I hope this writing showed more effort
and intelligence on the work, mom.<o:p></o:p></span></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-11446228427684868142012-09-09T11:09:00.000-07:002012-09-09T11:09:30.584-07:00"Just nod if you can hear me; is there anyone at home?"<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Since reading Couples, I have found the narrative vibrant and interesting. This seaside <st1:state w:st="on"><st1:place w:st="on">Massachusetts</st1:place></st1:state> town named Tarbox holds some nostalgia and warm feelings for me. I appreciate Updike’s images of nice homes and nice people. However, beneath the surface are people searching for answers to questions that religion and faith used to answer for them. However, being a new generation of individuals and humanists, the answers that satisfied their parents do not hold for them. Set in 1962, this novel is Updike’s attempt to explain where and how the sexual revolution started. Updike describes the lives of ten couples, all well to do people living in beautiful homes and driving expensive cars. The couples can be confusing to follow because the dialogue moves quickly and there is sometimes little mention of who is speaking to whom, especially when it comes to scenes of them in bed. So, here is the list of the married couples at the beginning of the novel:</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Marcia & Harold Smith</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Janet & Frank Appleby</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Georgene & Freddy Thorne</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Irene & Ben Saltz</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Carol & Eddie Constantine</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Angela & Piet Hanema</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Foxy & Ken Whitman</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Bernadette & John Ong</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Terry & Matt Gallagher</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Bea & Roger Guerin</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
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Also, here are the affairs early on:</div>
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Marcia Smith & Frank Appleby</div>
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Janet Appleby & Harold Smith</div>
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Georgene Thorne & Piet Hanema</div>
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Ben Saltz & Carol Constantine</div>
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Irene Saltz & Eddie Constantine</div>
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In Updike’s reckoning, these people in rural <st1:state w:st="on"><st1:place w:st="on">Massachusetts</st1:place></st1:state> wanted religion; they wanted something larger than themselves in their lives. They were looking for more than just their own counsel. However, the options were limited. Being modern people they did not want the orthodoxy and dogma of the Catholic church, and the Congregational church was too light and easy on the soul. They wanted the middle ground, a non-orthodox church that made them accountable for their actions. If they had only lived a few centuries before, the Puritan church would have been more than happy to show them the way. Unfortunately for them, and their spouses, <st1:state w:st="on"><st1:place w:st="on">Massachusetts</st1:place></st1:state> is a religious wasteland. Catholicism is too heavy and the Tarbox Congregational church too focused on making money and preserving the shell of a dying faith. Having no spiritual source of comfort, they turn to each other. Forming a new religious identity based on sex and sleeping around, it does not satisfy their souls but only deepens the chasm between their minds and their lives. Pink Floyd’s <i style="mso-bidi-font-style: normal;">Comfortably Numb </i>would be a fair assessment of how these people feel during their affairs. The comfort and intimacy provides a temporary shield which protects them from the emptiness they feel in marriage and suburban living. </div>
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Because of this vacuum of tangible faith, and their belief in a "Post-Pill Paradise" (the first tablet contraceptive Enovid was cleared by the US FDA in 1961) affairs are what pique their interest and this disenfranchisement from the societal norm makes them a social elect. Those lucky few who have affairs and live within that construct are set apart, living as couples in all shapes and forms. Married or sleeping around, these people live life as couples, constantly searching for in each other what they should find in thelselves. Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-13140175444497785062012-09-04T19:44:00.005-07:002012-09-04T19:44:59.552-07:00Basketball<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Continuing with Rabbit Angstrom, we will approach
his interest in sports. Combining his love for basketball with the fact that
many men of his generation played amateur sports tells me that America’s love
for sport and competition ran high in the post-war years. Rabbit played
basketball for his rural hometown of Mt. Judge, Pennsylvania. In his description
of that time, some of the gyms they played in were so small that they had
backboards mounted directly to the end walls. The crowds reached to the rafters
to watch Rabbit shoot and score against the opposition. In the <i>Rabbit </i>books, Angstrom is what every boy
aspires to be and what every man wants for his son. Rabbit, to the denizens of
Mt. Judge, was Michael Jordan, Kobe Bryant and Magic Johnson rolled into one
player. He was their superstar, the leader and the man who got the ball on
every possession. Most nights he would play well and score many baskets, but
win or lose Rabbit would put up multiple shots a game. It’s like the present
day Los Angeles Lakers, Whether Kobe goes 20/40 shooting or 7/40 shooting, he
is going to put up all 40 shots every night and his teammates can learn to deal
with it. In Mt. Judge, it was Rabbit’s team. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This point was much to the chagrin of Ronnie Harrison,
Rabbit’s friend from the country club and the husband of Rabbit’s illicit lover
Thelma. Ronnie played basketball with Rabbit and would be considered a grinder
or a role player. While Rabbit was out front, draining shots and getting the
credit, Ronnie was in the post and in the paint playing tough defense and
rebounding. Throughout the books these two have a long and twisted
relationship, but two metaphors come to my mind here: Ronnie is Newman to
Rabbit’s Seinfeld, and if Rabbit is Jordan then Ronnie is Dennis Rodman
(without the hair and piercings and women’s clothing). Ronnie did not receive
the spotlight on the court, but talking heads on ESPN would value his
contribution to the team. Some would even go so far as to say that Rabbit could
not be the player he was without a Ronnie backing him up, pulling down boards
and posting up on defense. These men are a microcosm of the larger world and America
at the time. In the prime of both of their lives, Rabbit is a successful Toyota
dealer, member of the country club and various civic organizations and makes a
very comfortable living without trying very hard. This parallels his experience
in high school and on the basketball court. Ronnie is a struggling insurance
salesman, has to work hard every day to pay his bills and has to live knowing
that Rabbit is sleeping with his wife. These men are characters of the world
around them.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">America has a great sporting past, and though the
largest sport today is professional football, this wasn’t always the case.
Boxing and baseball dominated the sporting world well into the 1960’s, hockey
was (and is) a niche product for cold latitudes and basketball was just coming
onto the scene in post-war America. Baseball captured American hearts in such a
way that is curious. Of the stick-and-ball sports it is the most obtuse: the
defense controls the ball, there is no clock and most positions outside of
catcher and middle infield do not require real athletic talent. Baseball was
the pinnacle of sporting entertainment to those post war suburbanites. They
lived and breathed baseball at all levels, from Little League to MLB to old-man-slow-pitch-rec-league
softball. Boxing too captivated their minds and spirits. Blood sport, handed
down through history from ancient Greece all the way to the biggest names like
Sonny Liston, Jake LaMotta and Sugar Ray Robinson. These men climbed into the
ring and beat each other senseless all for the glory and honor of the crowds.
While these sports are beautiful and successful in their own right, it makes
sense that Rabbit Angstrom made his bones playing a different sport than them.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Basketball is cheap; it only requires one ball and
two hoops. It also doesn’t require as many men as football or baseball. Since
only five are needed per side, poor schools can afford to outfit a team more
readily than if they played football or baseball (which to anyone who has seen <i>Hoosiers</i> makes sense because Hickory
doesn’t have the cash for football, let alone enough boys). And, it is played
in the winter. Farmers and farming communities are at their most idle when snow
is on the ground and the crops are in the silo. Plus, small towns can more
easily support a basketball team and fill a small gymnasium than they could
fill a football stadium. For Mt. Judge, the poor rural town in Pennsylvania,
basketball is as good as sporting gets. And for the time, Rabbit is the best
they have ever seen. Young boys in town want to be him, and all of the girls
want a piece of him. He swaggers and struts around the town because life is
easy for him. He has no further responsibility or care in the world than to put
the orange ball in the hoop. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In this period, sports glory matters more to the
fathers and sons because life was boring. In sports there are glimmers of
action and adrenaline. Hitting a line drive, or having one hit to you, is for a
few seconds, almost as intense as the combat these men saw abroad. Pride was
gained and lost based on the Friday night score and how the hometown team did.
And for the few years that Rabbit Angstrom rained buckets for Mt. Judge, life
was not bad. <o:p></o:p></span></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0tag:blogger.com,1999:blog-3232339121579352809.post-67157199601666028022012-08-31T14:07:00.001-07:002012-08-31T14:07:15.715-07:00On Suburbia<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> Starting this
semester’s work, we commence with Updike’s 1960 novel, <i>Rabbit, Run.</i> One of his early works and the one that helped him win
acclaim because it began the <i>Rabbit </i>series.
One of the themes this novel deals with is suburbia; or more specifically how
the 1950’s generation dealt with suburban living.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This topic requires some background, as the economy
boomed after World War II, more and more middle class Americans moved away from
cities and into suburban bedroom communities. They built single family homes on
predetermined lots, had a lawn for their children to play within, and a garage
to store the great chrome festooned Chrysler Newport or Ford Mainline that the
family used for transportation. This type of lifestyle can seem idyllic to
some. The peace, security and general comfort that a suburban home can provide
is a pleasing quality to many people. Even your author, who saddled with a fair
amount of college debt and a poor job market, would give a great amount to have
his own home in Westerville or New Albany. Living in my own two story home and
driving a new Chrysler or Jeep would seem just about perfect to me. However, to Updike’s Rabbit Angstrom or Richard
Yate’s Frank Wheeler in <i>Revolutionary
Road, </i>suburban living and all of its trappings is something to be reviled
and disdained. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">One of the factors for this that Prof. Myers and I
discussed is what I will call the “Traumatized Veteran Theory.” This premise
considers that as a large majority of the men, both in fiction and real life,
from the 1950’s were veterans of World War II. They won the glorious cause by
beating Hitler and Tojo, sparked a manufacturing and research boom back home,
and were touted as liberators and the most powerful military force in countries
abroad. Because of their wartime
experience being adrenaline packed and stimulating to the senses, the minutiae
of mowing the lawn, listening to the wife and playing with the kids is boring. It
is so boring, that they yearn for more excitement in their lives. But these men
are beholden to the trappings of middle class life that they wish to dispose
of. If we consider the 1950’s as the “conformist decade” where everything and
everyone in White middle class society was the same, men were not faced with
hard choices. Their most pressing choices in life were Ford or GM and scotch or
bourbon. Notwithstanding that with either choice the man will end up with a car
or whiskey, his life was largely routine and bland. Coming from a world of
vicious jungle combat or French whores or North African heat, these men were
not stimulated by the comfortable lives with homemaker wives and sons playing
Little League. Being affected by war makes these men disinterested in civilian
living, but the facts that they won’t step outside of the norm and that they
have a duty to their families to provide means that they will continue to lead
lives of quiet desperation and fulfillment<o:p></o:p></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/t0HaQBvv8zs?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I am attaching a link to Supertramp's song " Take The Long Way Home" as an accompanying piece to the desperation and sadness these men felt. </span></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com1tag:blogger.com,1999:blog-3232339121579352809.post-40092731831533964122012-08-31T13:28:00.003-07:002012-08-31T13:28:26.961-07:00<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In all academic study, there is a central question.
Every class, every research topic and every theme paper strive to answer a
question. In this instance, the topic for discussion is John Updike. But more
specifically, we are studying a selection of his novels. These novels have been
chosen and are being researched for their value and input into American
culture. So, the question we are answering goes as such: “How has the writing
of John Updike affected or impacted American culture?” Further, we are
considering his impact on American thought and ideals. The topics that Updike
commented on, and we will be following more closely, are suburbia, sex and the
middle class.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I am Cory Conrad, a Senior English student at OSU
and an avid reader. I have enjoyed everything that I have read by Updike and
this independent study is a privilege and joy for me. Rather than write a long
and tedious thesis paper about Updike, I have chosen to write blog posts to
convey what we discuss to a larger audience. Astute readers will notice that
the title of this blog comes from the last words Harry “Rabbit” Angstrom says
in <i>Rabbit at Rest. </i>Hopefully, like
Rabbit’s death, readers will find that this blog is not so bad.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">With me in this study, leading as an advisor, mentor
and knowledgeable literary man is Professor David G. Myers of The Ohio State University.
We will be advancing our knowledge through discussion of the books and tying
the stories within together with popular media, other texts and historical analyses
so that we can deeper understand who Updike was as a writer, what he was saying
and whom he was saying it to.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Thanks for reading and look back soon for more
posts. <o:p></o:p></span></div>
Cory Conradhttp://www.blogger.com/profile/06662137519630148090noreply@blogger.com0