Showing posts with label John Jeremiah Sullivan. Show all posts
Showing posts with label John Jeremiah Sullivan. Show all posts

Tuesday, February 7, 2012

Book Review: The Fallback Plan

The Fallback Plan: A Novel by Leigh Stein (New York: Melville House, 2012. 219 pp)

Leigh Stein is a first-time author. She lives in New York where she works in children’s book publishing and teaches musical theatre. Her upcoming release, Dispatch from the Future is a collection of poems to be released in June 2012.

Prolonged Adolescence

As a musically-minded individual teaching choir, I’ve always wondered: what is my fallback plan? What would I do if I couldn’t get a job? I’ve luckily never been thrust into that scenario, but many holding an arts degree are. The sad truth is that the arts degree doesn’t do much in the marketplace. Sure, it helps hone one’s craft; it helps someone to become a better musician, painter, or actor. However, no art gallery, bar scene, or theatre will say “you have a degree, you’re hired!”

A lucky few find a job with the aid of their degree, while others succumb to corporate life or barista-hood. Some, however, choose not to deal with the problem and move in with their parents in order to usher in an era of prolonged adolescence. Leigh Stein paints such a person, Esther (a pseudonym for herself), in her novella The Fallback Plan.

Esther Kohler is a recent college graduate, and like so many others, completely unemployed with no prospect on the horizon. She ends up living with her parents, much to her disdain. She slides through life in the doldrums whilst drinking with her friends, Jack and Pickle. In contrast to the rest of the world, absolutely nothing happens in her life.
“In June, the monsoons hit Bangladesh. Chinese police discovered slaves in a brickwork factory who couldn’t be sent home because they were too traumatized to remember anything but their own names, and Dr. Kevorkian was released from prison. In other news, I moved in with my parents” (3). 
Like so many graduates of the arts, she is forced to rely on a fallback plan, or at the very least, figure out what it would be.

The Joys of Getting a Job 

As a graduate with the not-so-sought-after emphasis in theatre, Esther has no hope in the world for a job. So, she decides to get a job in babysitting. Well, she doesn’t so much decide to do so—it’s thrust on her by her parents.
“I couldn’t believe I now had a job. My job was going to be playing with a four-year-old? Part of my brain immediately attempted to calculate the amount of money I’d get to spend on screenwriting books after I paid my parent’s rent, part of my brain said, You’re stoned, about to go on a drug run, and someone is going to trust you with their small child, and part of my brain cast me as Marry Poppins in an adaptation directed by Stanley Kubrick” (23).
But, in the process of babysitting, she befriends the mom (her employer) and the daughter. The mom lost her first child, and by looking into her life, finds that depression can be deeply seated. Esther herself has been struggling with depression, both during and after college, and is having trouble coming to terms with her feelings.
“I knew I was depressed, but my hope was that maybe there was a brain tumor at the root of all this, something that would show up on a map of my cerebrum, something excisable. And then I came across the word weltschmerz” (69).
Weltchmerz is defined as a mental depression or apathy caused by comparison of the actual state of the world with an ideal state. It’s a mood of sentimental sadness. Esther, no doubt a mirror image of Leigh Stein, has to work through this sentimental sadness and figure out how to make life work. Forced to come to grips with her situation, this coming-of-age story is inextricably intimate and funny at the same time.

The Fallback Plan paints a depressing and accurate picture regarding the status of the liberal arts degree in the United States. But by no means am I advocating for the lack of arts in schools, nor am I painting them as worthless. I teach the arts, have two degrees in music, and find them completely worthwhile. In fact, arts and music make your brain work harder on analytical pursuits. Some businesses are even hiring music majors in lieu of those with business degrees because of their creative brains. The point I’m trying to make is that if you’re pursing arts, don’t expect your degree to work for you. Rather, work for your degree.

Anyone who likes author David Sedaris, or even something like Pulphead by John Jeremiah Sullivan would enjoy this work of fiction. It’s honest, witty, and works through some pretty deep issues. I think that the book could have been longer and explored some of the stories a little more deeply, but all in all The Fallback Plan is a good read.

Verdict: 3 out of 5
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Posted by: Andrew Jacobson

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Tuesday, January 17, 2012

Book Review: Pulphead

Pulphead: Essays by John Jeremiah Sullivan (New York: Farrar, Straus, & Giroux, 2011. 365pp)

John Jeremiah Sullivan is a contributing writer to The New York Times Magazine, a contributing editor of Harper’s Magazine, and editor of The Paris Review. He is the author of two books: Blood Horses: Notes of a Sportswriter's Son and Pulphead.

“Greatest Hits” 

I recently picked up a couple books containing essays by reputable journalists. The first being Distrust that Particular Flavor by William Gibson, and the second being Pulphead by John Jeremiah Sullivan. What I’ve found difficult about these books is that both are rather like listening to a compilation album, or better yet, a “greatest hits” album by an artist you love. On such an album, there are bound to be songs that you love and songs that you hate. Similarly, there are essays in John Jeremiah Sullivan’s Pulphead that are pure genius, while others were best to skip over. I’m going to spend time on the pure genius, as I think those essays are reason enough to buy this book.

Creation Fest 

Photo by Altus
In my opinion, the best essay in this collection is the first essay, a commentary on Christian culture against a background of hilarity. In this essay, Mr. Sullivan was assigned to cover a festival in Missouri where Christian bands were playing. But, in a penchant for the more elaborate, instead of merely covering the bands, sitting on the side of the stage, and writing a brief report, he decided to recruit some young Christian folk to travel in a RV with him on the way in order to get more honest material. He posted on a chatroom looking for some travel companions:
“I had failed to grasp how ‘youth’ the [Christian rock] phenomenon is. Most of the people hanging out in these chat rooms were teens, and I don’t mean nineteen either, I mean fourteen. Some of them, I was about to learn, were mere tweens. I had just traipsed out onto the World Wide Web and asked a bunch of twelve-year-old Christians if they wanted to come for a ride in my van” (5).
Five pages into his book of essays, and Sullivan had me hooked. Not only is he talking about Creation Fest, a Christian festival I attended long ago, but he’s funny! He also grasped the Christian “rock” phenomenon quite accurately. Christian rock is somewhat of a separate genre from the rest of rock in general. Sullivan describes why.
“A question must be asked is whether a hard-core Christian who turns nineteen and finds he or she can write first-rate songs (someone like Damien Jurado) would never have anything whatsoever to do with Christian rock. Talent tends to come hand in hand with a certain base level of subtlety. And believe it or not, the Christian-rock establishment sometimes expresses a kind of resigned approval of the way groups like U2 or Switchfoot…take quiet pains to distance themselves from any unambiguous Jesus-loving, recognizing that to avoid this is the surest way to connect with the world” (19).
Photo by Robb and Jessie Stankey
I’m a Christian, and I’m a musician, but ask me if I like current Christian bands and I’ll genuinely laugh you out of a room. This kind of statement certainly rings true.

Covering the Christian rock concert marathon that is Creation Festival, Sullivian, listening to the bands suddenly exclaims “Shit, it’s Petra” (those who know of Petra understand the fact that swearing is entirely warranted in this circumstance due to their unnaturally awful sound) and begins to talk about his Christian upbringing in a long exposé. In some of the most honest, beautiful prose discussing one’s personal faith in regards to Christianity, he says that his problem with Christianity is that,
“I love Jesus Christ…He was the most beautiful dude. Forget the Epistles, forget all the bullying stuff that came later. Look at what He said…His breakthrough was the aestheticization of weakness. Not in what conquers, not in glory, but in what’s fragile and what suffers—there lies sanity. And salvation…once you’ve known Him as a God, it’s hard to find comfort in the man. The sheer sensation of life that comes with a total, all-pervading notion of being—the pulse of consequence one projects onto even the humblest things—the pull of that won’t slacken. And one has doubts about one’s doubts” (33).
That’s raw. That’s honest. And, it’s something that I think more people need to think about. Christians have done a lot of stupid things in the name of Christ, to the point that a guy won’t consider himself a Christian because he loves Jesus, not the religion and mantra that’s behind it.

Michael Jackson is Awesome 

Photo by Andy Leddy
Among this book of brilliant essays was a piece about Michael Jackson. Michael Jackson has singlehandedly changed the world of pop (he is, after all, known as the King of Pop) and he gets a bit of a bad rap. He terribly disfigured his face through surgery, did some creepy things, and played in a world of perpetuated childhood. In the essay, Sullivan writes,
“His art will come to depend on his ability to stay in touch with that childlike inner instrument, keeping near enough to himself to heed his own melodic promptings. If you’ve listened to toddlers making up songs, the things they invent are often bafflingly catchy and ingenious. They compose to biorhythms somehow” (112).
The thing that we dislike Michael for so often was also the thing that brought him such beautiful music. It’s true; he may have been a serial child-molester, but then again maybe not. Maybe, Sullivan purports, he just loved children with a similar childlike innocence. Sullivan also muses, that we have perhaps done him an injustice, especially in regard to his looks,
“We have, in any case, a pathology of pathologization in this country, It’s a bourgeois disease, and we do right to call bullshit on it. We moan that Michael changed his face out of self-loathing. He may have loved what he became” (126).
Sullivan succeeds in tugging at the heartstrings of the reader, and forces him or her to come to grips with either former prejudices or doubts about the famous, and perhaps infamous, pop-star that is Michael Jackson.

Sullivan has several other essays that are worth reading as well, one on his time in New Orleans after hurricane Katrina; one on The Real World reality TV series and the reality TV phenomena in general; one on Axl Rose (remember him?); and one on Bunny Wailer (singer and guitarist with Bob Marley). These essays are just a few of the ones I enjoyed in the collection. I highly recommend that you check them out for yourself, as the clarity and honesty he brings to these essays brings out things you wouldn’t think about, or perhaps wouldn’t want to. He tells a story about this world that most of us don’t know, and it’s too honest, raw, and compelling to not read. You just have to find the essays that are the best, as in the end not all of them spoke to me. If all of the essays were as good as the ones I mentioned, I would rate this book much higher. But, Pulphead: Essays is certainly still worth picking up and reading as the good far outweighs the bad.

Verdict: 3.5 out of 5
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Posted by: Andrew Jacobson

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