Browsings Read online

  Browsings

  A YEAR OF READING, COLLECTING,

  AND LIVING WITH BOOKS

  Michael Dirda

  PEGASUS BOOKS

  NEW YORK LONDON

  To the memory of Clifton Fadiman, Randall Jarrell,

  Cyril Connolly, and Robert Phelps

  Contents

  Introduction

  Mr. Zinsser, I Presume

  Style Is the Man

  Armchair Adventures

  Bookish Pets

  Paper

  This Is a Column

  Scribble, Scribble

  Books on Books

  Text Mess

  Twilight of an Author

  Spring Book Sales

  Memories of Marseille

  Hail to Thee, Blithe Spirit!

  Synonym Toast

  Cowboys and Clubmen

  Grades

  Anglophilia

  After the Golden Age

  Anthologies and Collections

  Rocky Mountain Low

  The Fugitive

  Hot Enough for You?

  Wonder Books

  Readercon

  Aurora

  Out of Print

  Thrift Stories

  Musical Chairs

  The Evidence in the (Book) Case

  Charlottesville

  Then and Now

  Mencken Day

  New and Old

  Dirty Pictures

  Going, Going, Gone

  Castles in Space

  Waving, Not Drowning

  Oberlin

  Jacques Barzun—and Others

  What’s in a Name?

  Language Matters

  “I’m Done”

  Poe and Baudelaire

  In Praise of Small Presses

  Christmas Reading

  Books for the Holidays

  Let Us Now Praise Dover Books

  A Dreamer’s Tale

  Money

  Book Projects

  Ending Up

  A Positively, Final Appearance

  Afterword

  Biographical Note

  Acknowledgments

  Introduction

  Between February 2012 and February 2013 I contributed an essay each Friday to the home page of The American Scholar. I had no particular restrictions on what I might write about, though it was expected that my column would be literary and personal. Initially I was told that each piece should run about 600 words but, due to my natural garrulousness, this length soon doubled and occasionally tripled. From the start, I planned to write these “Browsings” essays for a year, then stop. And that’s what I did.

  I’ve retained the name Browsings as the title of this collection, even though it is something of a misnomer. Rather than chronicling “the adventures of a soul among the masterpieces,” I quickly gravitated to talking digressively, and I hope amusingly, about bookishness itself. These are, in fact, very much personal pieces, the meandering reflections of a literary sybarite. The essays themselves vary widely in subject matter, and rarely stick closely to their stated titles. In reading them over, I did notice a few repeated names, as well as some dated allusions to contemporary events, but have decided to let these stand. However, I have corrected small mistakes, sharpened sentences and, in one or two instances, added a few illustrative details. But that’s all. I hope Browsings as a whole will communicate some sense of a year in the life of an especially bookish literary journalist. I also hope that it will encourage readers to seek out some of the many titles I mention or discuss.

  Please bear in mind that these are light essays, meant to be entertaining. They aren’t jokey precisely, but they do have jokes in them. And lots of allusions and quotations, as well as the occasional pun. Now and again, I go off on rants, sometimes I make up lists, at other times I describe my misadventures at literary conventions and conferences. But throughout you’ll recognize, I think, the same voice. If you like that voice, you’ll probably like this book.

  But allow me to make two small recommendations: First, don’t read more than two or three of the pieces at one sitting. Space them out. That way Browsings will take longer to get through and you’ll enjoy each essay more. Trust me on this. Second, consider reading the columns in the order they appear. Each is meant to stand on its own, but I did aim for a pleasing variety in my choice of topics, as well as a seasonal arc to the series as a whole.

  —MICHAEL DIRDA

  Mr. Zinsser, I Presume

  As readers of Browsings will discover in the weeks to come, I’m pretty much what used to be called a “bookman.” This means, essentially, that I read a lot and enjoy writing about the books and authors that interest me. Sometimes the result is a review, sometimes an essay. But my tone aims to remain easygoing and conversational, just me sharing some of my discoveries and enthusiasms.

  Like any sensible person, I’m cowed at the prospect of succeeding William K. Zinsser in this online column for The American Scholar. Even as I type these sentences, I’m wondering if there’s a way to add a little more dash and color to what I’ve written. Dickens used to tell his contributors to Household Words: “Brighter! Make it brighter!” I can imagine Zinsser saying this to his writing students at Yale, back in the days he taught there.

  I read On Writing Well when it first came out, and I’ve periodically gone back to it since. Having been notably lackluster in my grammatical studies in high school and never having taken any writing courses in college, I have since welcomed all the linguistic counsel and stylistic advice I can get. On Writing Well thus stands on a shelf, if only a mental shelf, with such classics as Fowler’s Modern English Usage, Herbert Read’s English Prose Style, Robert Graves and Alan Hodge’s The Reader Over Your Shoulder, Theodore M. Bernstein’s The Careful Writer, and of course, Strunk and White’s The Elements of Style.

  But On Writing Well is more than a guide or even an exemplar of the principles it so attractively preaches. It’s also a wonderful anthology of quotations, almost a commonplace book. For instance, the passages Zinsser cites from Alan Moorehead sent me scurrying to locate copies of The White Nile and The Blue Nile, and then everything else by this superb journalist-historian, now rather forgotten. Happily, any good used bookshop is likely to stock copies of his expertly paced accounts of 19th-century African exploration. Look for the oversized, illustrated editions, which come with maps, period pictures, and much else.

  On Writing Well also led me to Zinsser’s own books. Only last year I acquired a copy, in a fine dust jacket, of his first: Any Old Place With You. Published in 1957 and winsomely illustrated by Robert Day throughout, it’s subtitled “The True Story of Some Impractical Voyages to Implausible Places on a Number of Continents.” On the back cover a skinny and very youthful-looking Zinsser sports a white tee-shirt and khakis; his biographical note identifies him as “a man scarcely out of his twenties” and currently a film critic for the New York Herald Tribune.

  The style of Any Old Place With You—the title comes from a song by Lorenz Hart—is breezy and almost relentlessly witty, in the manner I associate with dim childhood memories of riffling through Holiday magazine. Here’s how it opens:

  One August evening a few years ago, on a park bench in Manhattan, I turned to a willowy blonde named Caroline Fraser, who happened to be turned to me, and spoke the words that started it all: “Let’s get married and take a trip to Africa.”

  Her blue eyes widened, and I searched them for an answer. But I could see only two words: “Drink Budweiser.” They were reflected from a blinking neon sign.

  It wasn’t exactly what I had in mind, but it was something, and I pressed my case. I had been suggesting marriage for weeks, but my proposal lacked that extra detail, like a trip to Africa, that every girl sets her heart on.

  �
��Did you say Africa?” Caroline asked.

  “Yes, Africa,” I purred, seizing the advantage. “King Solomon’s Mines, the Mountains of the Moon, fabulous Zanzibar—it’s got everything. Think of Stanley looking for Livingstone, Baker looking for the lost source of the Nile, Clark Gable looking for Ava Gardner.”

  Before you know it, Caroline has said yes and the new couple is embarked on the Atlantic voyage of the accursed ship Bahama. But I should say no more. Find your own copy of the book.

  Oh, yes, one more thing, as Lt. Columbo used to say: when I decided to write this opening piece for Browsings, I asked my friend Robert Wilson, the esteemed editor of The American Scholar, if William Zinsser was still married. “Yes,” said Bob. “Her name is Caroline.”

  [Alas, William Zinsser died at age 92 on May 12, 2015, just as this book was going to press. His death was announced by Caroline Fraser Zinsser, his wife of nearly 60 years.]

  Style Is the Man

  In the first of those casual essays that make up The Spectator, Joseph Addison declares: “I have observed that a reader seldom peruses a book with pleasure until he knows whether the writer of it be a black or a fair man, of a mild or choleric disposition, married or a bachelor, with other particulars of the like nature that conduce very much to the right understanding of an author.”

  It’s a famous passage, or, at least, it once was. But is The Spectator still read today? By that I mean is it read for pleasure, by ordinary people, not just by students in 12th-grade English or by undergraduates taking a course in “Prose of the Augustan Age?” I wonder.

  John Steinbeck, you may recall, carried a four-volume set of The Spectator on his “travels with Charley.” In his autobiography Benjamin Franklin tells us that he taught himself to write by first studying passages of Addison, then attempting to replicate them in his own words. In this he was, of course, following the celebrated advice of the Great Cham himself, Samuel Johnson: “Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison.”

  Back in junior high school, I tried this same exercise with Thoreau, memorizing favorite passages from Walden so that I might infuse my eighth-grade book reports with sentences of oaken sturdiness and Shaker simplicity. Decades later, I discovered that E.B. White—the modern master of the plain style—carried a copy of Walden in his pocket for many years, like a breviary. As kids say, been there, done that.

  Though my heart leaps up when I hear the gorgeous music of 17th-century prose (Thomas Browne, Robert Burton, Jeremy Taylor), such organ-concert grandeur is simply beyond me. If only I had a flair for striking similes and metaphors! Alas, nothing ever reminds me of anything else. Equally elusive are the twists and turns of intricately layered, Ciceronian syntax: I have enough trouble holding a thought in my head for more than a couple of lines, let alone carrying it through serpentine clause after clause. I do sometimes console myself by remembering Isaac Babel’s famous dictum: “There is no iron that can pierce the human heart with such stupefying effect as a period placed at just the right moment.”

  Because of journalism’s paramount need for clarity and objectivity, working at The Washington Post only reinforced the natural austerity of my prose. An old copy editor I knew used to say, when striking out a needless epithet or intensifier, “No vivid writing, please.” Beauty, I learned, grows out of nouns and verbs, and personal style derives from close attention to diction and sentence rhythm. When Yeats decided that his poems had become too ornamented and flowery, he took to sleeping on a board. Before long, he’d put the Celtic Twilight far behind and was producing such shockingly blunt lines as “Nymphs and satyrs copulate in the foam.”

  In my youthful days as a reviewer, I studiously avoided using the first person singular. With some dexterity, one can achieve a sense of intimacy without it, as The New Yorker’s Janet Flanner demonstrated in her wonderful letters from Paris. But the personal essayist needs to master the graceful use of “I.” So . . . I try.

  A writer’s greatest challenge, though, is tone. I like a piece to sound as if it were dashed off in 15 minutes—even when hours might have been spent in contriving just the right degree of airiness and nonchalance. Not that I make it easy on myself to achieve that lightness of touch, given my almost antiquarian penchant for quoting all sorts of authors. See the previous paragraphs for examples.

  At all events, let me honor Addison’s injunction: I am neither black nor fair but somewhat in between, my disposition tends toward the ironic and self-deprecatory, and I am married with children (now grown). Other “particulars of the like nature” will emerge over time. Onward!

  Armchair Adventures

  Why is it that I so seldom want to read what everyone else wants to read? A season’s blockbuster will come out—whether Hilary Mantel’s Wolf Hall or Stephen King’s 11/22/63—and the world will rush off to the bookstores. More often than not, I dawdle instead, take my own sweet time, probably even stop for a coffee on the way. Maybe I’ll acquire the new book, maybe I won’t.

  This isn’t to say that the annual prizewinners and best-sellers aren’t worth Mr. Bigshot Reader’s time or that I think I’m somehow superior to them. On the contrary. I fear that my decreasing interest in the contemporary indicates the onset of old age, or even old fogeyism. Soon I’ll start harrumphing when I open the morning paper.

  Only partly to my dismay, I find that nowadays I gravitate increasingly to older books and particularly to tales of romance and derring-do from the late 19th and early 20th centuries, the period that the critic Roger Lancelyn Green dubbed “the age of the storytellers.”

  Last year, for instance, I taught a course at the University of Maryland entitled “The Classic Adventure Novel: 1885-1915,” covering 10 books. Given those dates, you can probably guess half the titles on the reading list: H. Rider Haggard, King Solomon’s Mines; Robert Louis Stevenson, Kidnapped; H. G. Wells, The Time Machine; Baroness Orczy, The Scarlet Pimpernel; E. Nesbit, The Story of the Amulet; G. K. Chesterton, The Man Who Was Thursday; Rudyard Kipling, Kim; A. Conan Doyle, The Lost World; Edgar Rice Burroughs, Tarzan of the Apes; and John Buchan, The Thirty-Nine Steps. If one were to characterize all these disparate works, one might settle for the phrase “comfort books.” Other descriptive clichés come to mind: ripping yarns, action-packed swashbucklers, escapist fantasies, boys’ books. All accurate designations, but I will make the case that such stories are as important to our imaginations as the more canonical classics.

  To my delight, the class proved immensely popular. Students said that it reminded them of why they had majored in English: not because they could hardly wait to read the latest in literary theory, but because they loved stories. This spring the Maryland English Department invited me back to teach again. Did they want me to take over a graduate seminar devoted to Lydgate’s Fall of Princes? Lead a class through the complete critical works of Gayatri Spivak? Teach Provençal poetry? Not a bit. Instead of these worthy projects, I’m back discussing “The Modern Adventure Novel: 1917-1973.” Our reading list picks up where the previous one left off and includes: Edgar Rice Burroughs, A Princess of Mars; Rafael Sabatini, Captain Blood; Georgette Heyer, These Old Shades; Dashiell Hammett, Red Harvest; H. P. Lovecraft, At the Mountains of Madness; Eric Ambler, A Coffin for Dimitrios; Alfred Bester, The Stars My Destination; Chester Himes, The Real Cool Killers; Charles Portis, True Grit; and William Goldman, The Princess Bride.

  Despite such plenty, I was chagrined that several titles I really wanted to use were out of print: Cornell Woolrich’s The Bride Wore Black, for instance, and Lionel Davidson’s The Rose of Tibet. What are publishers thinking? I could easily have doubled the number of books in both classes. And I still kick myself for forgetting about Kenneth Fearing’s The Big Clock.

  On the other hand, I frequently find myself remembering the television newscaster and author Heywood Hale Broun. Bear with me a moment. Years ago, Broun would occasionally write for The Washington
Post Book World. He was, I think, the only reviewer who hand-scribbled his pieces, using yellow sheets untimely ripped from pads of paper intended for schoolchildren. Sometimes his looping script was hard to decipher, but the reviews were invariably dryly witty and quite wonderful.

  Broun, I remember from our conversations on the phone, loved old-style “Clubland” heroes, and collected Dornford Yates, E. Phillips Oppenheim, “Sapper,” Edgar Wallace, P. C. Wren, A. E. W. Mason, and John Buchan. He reveled in elegant 1920s mysteries set on the Riviera and tales of Graustark and Ruritania, enjoyed old-fashioned thrillers like The Four Feathers and Beau Geste and The Pirate Aeroplane (a favorite of the young Graham Greene), and made no secret that in a better world he would have been Richard Hannay.

  Occasionally, Broun would summarize some particularly thrilling plot, and—Lord, forgive me—I would smile, in the superior way of youth, at the old man’s boyish enthusiasm. In those days, I much preferred work of the avant-garde to heroic exploits of Napoleon’s Old Guard. Had I but known, as the old novelists themselves used to write, what fate had in store for me: Today I’d give a lot to own Broun’s adventure library.

  Fiction is a house with many stately mansions, but also one in which it is wise, at least sometimes, to swing from the chandeliers. At a dramatic moment in Sabatini’s famous piratical masterpiece, the evil buccaneer Levasseur seizes a beautiful captive and snarls: “You do not take her while I live!” To which Captain Blood coolly replies, as his blade flashes in the sunlight: “Then I’ll take her when you’re dead.” Writing—or reading, for that matter—doesn’t get any better than that.

  Bookish Pets

  Poets traditionally own cats. Baudelaire would caress his “beau chat” and, being Baudelaire, daydream about his Creole mistress’s pliant body. T. S. Eliot famously celebrated the entire species in the comic verse of Old Possum’s Book of Practical Cats. As a Sherlockian, I’m particularly partial to Eliot’s Macavity, his feline Napoleon of Crime, sometimes known as “the hidden paw.” Christopher Smart’s greatest poem, “Jubilate Agno,” memorably extols the virtues of his cat Jeoffry, that “excellent clamberer.”