Beyoncé, James Cone, and Updike’s Skeeter

screen-shot-2017-01-09-at-12-25-01-pmIn a scholarly essay posted January 9, 2017 on The Other Journal website, Lauren D. Sawyer considers Updike’s controversial character Skeeter from Rabbit Redux in a larger context:  “No Savior at All:  Updike’s Black Jesus and the White Church.”

There is much to digest here—too much to excerpt, except for the author’s concluding paragraph:

“In Black Theology and Black Power, [“father of black liberation theology” James] Cone writes that ‘the time has come for white Americans to be silent and listen to black people.’ It is clear that white Americans, and in particular the white church, have not listened well. We have insisted that our culture be the norm, making it difficult to embrace the blackness of Beyoncé, let alone broader representations of blackness in America. We have insisted that our Christ be white and have used him to justify racism from slavery to the mass incarceration of black men. Maybe what we need is a black Jesus to come and disrupt our perspective, to show us the extent of our sin. Updike’s black Jesus does not quite get us there. He may reveal to us, the white church, our sin, but he does not offer liberation to black lives. Skeeter as Christ functions only to help the white church begin to address its privilege and racism by forcing us to see our racism for what it is. To black lives, Skeeter is pure antichrist—he is a misrepresentation of what it means to be black and is thus no savior at all. It is the black Jesus imagined by Cone who fully functions as Christ to both black and white lives: liberating black persons from oppression and liberating white persons from their role as oppressor.”

Read the full essay.

Writer offers Brief Survey of the Great American Novel(s)

You’ve heard the debate. Probably participated, as well. Is there a Great American Novel?

literary-map-of-us-america-reads-anthologyEmily Temple, writing for Lit Hub, takes readers back to 1868 when John William DeForest “coined the now inescapable term ‘the great American novel’ in the title of an essay in The Nation—a term he defined as representing “the picture of the ordinary emotions and manners of American existence.” DeForest thought that the Great American Novel hadn’t been written yet, but since his early speculation there’s been no shortage of “contenders.”

Temple assembles a list of the usual suspects plus a few unique ones, among them (of course) John Updike’s Rabbit, Run (or rather, the collective Rabbit tetralogy). She blurbs each entry with a learned quote. For Updike it’s one from Troy Patterson written for Slate in 2009: “To consider the 1,700-odd pages of his Harry Angstrom saga—the bounding tetralogy of Rabbit books and their limping postscript—is to find yourself considering a work with an excellent claim as the Great American Novel, but you’d be forgiven for preferring to spend time with four or five Very Good ones.”

Other contenders on Temple’s non-exhaustive list are:

The Great Gatsby, F. Scott Fitzgerald
Moby-Dick, Herman Melville
To Kill a Mockingbird, Harper Lee
The Adventures of Huckleberry Finn, Mark Twain
Mason & Dixon, Thomas Pynchon
American Psycho, Bret Easton Ellis
The Grapes of Wrath, John Steinbeck
Underworld, Don DeLillo
Lolita, Vladimir Nabokov
U.S.A., John Dos Passos
Invisible Man, Ralph Ellison
Blood Meridian, Cormac McCarthy
Light in August, William Faulkner
Absalom, Absalom!, William Faulkner
Infinite Jest, David Foster Wallace
The Adventures of Augie March, Saul Bellow
Gentlemen Prefer Blondes, Anita Loos
Beloved, Toni Morrison
The Amazing Adventures of Kavalier and Clay, Michael Chabon
Freedom, Jonathan Franzen
The Brief Wondrous Life of Oscar Wao, Junot Díaz
These Dreams of You, Steve Erickson
The Flame Throwers, Rachel Kushner

Sportsblogger reviews Rabbit, Run

Rabbit-RunRESIZED-280x393Rabbit, Run has been reviewed hundreds of times, but this one—posted on Sportsblog January 5, 2017—is a little different:  “Book Review: Rabbit, Run, by John Updike; Running in Israel.”

Or, rather, not running. As the author writes, “In Rabbit, Run, the protagonist’s method for dealing with feeling trapped is to run away. In my case, not being able to run has been among the chief factors contributing to my feeling trapped.

“It was a rough December for Jerusalem—cold, wet and dark. . . . Early in the month I missed almost a full week of work with what might have been pneumonia or bronchitis—probably weather-induced. . . . The whole rest of the month the respiratory issues lingered, making it difficult to sleep and to function in general,” the author writes.

“Very little running was going on all this time. Winter had like a battering ram broken through my defensive fortifications, work held me prisoner in my chamber, and there they gave me Rabbit, Run to read, to gnaw away at my spirit from within.

“John Updike’s 1960 novel is that powerful. It spreads through the reader like a tea bag in hot water. Consciously, I didn’t like the first half; yet the story had seeped into the seedbed of my subconscious, where it settled, established itself, germinated, grew. I felt it there during the day, felt Harry Angstrom’s character moving, doing things, haunting like a ghost. I read on without enjoyment, annoyed, frustrated, but also strangely captivated, drawn in against my will.”

The author found Rabbit, Run depressing enough to Google “cheerful novel” in order to have “something encouraging to look forward to after Rabbit. Alas, what I ended up reading was The Optimist’s Daughter by Eudora Welty, an infuriatingly bad book that somehow won a Pulitzer in 1973.”

The author concludes, “Rabbit, Run gets four stars. If it weren’t for that quagmire of a first half, it would be a must-reread.”

New Yorker’s The ’60s: The Story of a Decade features Updike

511soikvlkl-_sx329_bo1204203200_The New Yorker has released a third volume in a decade-by-decade anthology series collecting pieces published in the famed magazine that best reflect each decade.

John Updike pops up several times in The ’60s: The Story of a Decade, which was published in hardcover on October 25, 2016. The substantial volume, published by Random House, runs 720 pages, and as a starred Kirkus review gushed, “The contributor list is an embarrassment of riches . . . The hits continue. Bring on the ’70s.”

Included are pieces from Renata Adler, Roger Angell, Hannah Arendt, Michael J. Arlen, James Baldwin, Whitney Balliett, Donald Barthelme, Jacob Brackman, Truman Capote, Rachel Carson, John Cheever, Henry S.F. Cooper, Jr., James Dickey, Mavis Gallant, Brendan Gill, Penelope Gilliatt, Emily Hahn, Geoffrey T. Hellman, Nat Hentoff, Hendrik Hertzberg, Ted Hughes, Charlayne Hunter-Gault, Randall Jarrell, Pauline Kael, E.J. Kahn, Jr., Katharine T. Kinkead, Hans Koningsberger, Jane Kramer, Daniel Lang, Flora Lewis, A.J. Liebling, Andy Logan, D. Lowe, Dwight MacDonald, Donald Malcolm, Terrence Malick, Faith McNulty, John McPhee, Thomas Meehan, Ved Mehta, James Merrill, Jonathan Miller, Lewis Mumford, Howard Nemerov, F.S. Norman, Sylvia Plath, Robert Rice, Harold Rosenberg, Lillian Ross, Richard H. Rovere, Muriel Rukeyser, Xavier Rynne, Jonathan Schell, Winthrop Sergeant, Ann Sexton, Isaac Bashevis Singer, L.E. Sissman, Muriel Spark, George Steiner, James Stevenson, Donald Stewart, May Swenson, Calvin Trillin, George W.S. Trow, Kenneth Tynan, John Updike, Kevin Wallace, Joseph Wechsberg, E.B. White, Thomas Whiteside, and Ellen Willis.

Here’s the Amazon link.

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Is Updike’s Rabbit rare, or common?

In a January 5, 2017 post on The Guardian, writer Matt Lewis notes that “Rabbit, Run is about a rebel we all know; John Updike’s disappointed young man dreams of escaping a workaday existence in a way that’s still familiar nearly 60 years on.”

Updike famously intended Rabbit, Run as a “riposte to Jack Kerouac’s 1957 beatnik classic On the Road,” Lewis writes. “Rather than beating morality into his readers, Rabbit gives Updike a means to explore the urges that exist in everyone—however secretly.”

That’s the common part. But as Lewis observes, “Like James Joyce and DH Lawrence before him, Updike treats sex and sexuality with a frankness that was uncommon among his contemporaries. The descriptions of sex have retained their raw freshness. In an essay, David Foster Wallace named Updike one of three Great Male Narcissists in U.S. postwar fiction and said that friends had criticized Updike for being ‘just a penis with a thesaurus.’ But that feels grossly unfair when considering his early novels like this one.

“For all of the prose’s curlicues and self-conscious prettiness, there is undoubtedly meat on the bone. Through Rabbit, Updike confronts major topics in a minor way: unravelling the tapestry of the suburban American male psyche and reweaving it into beautiful images. On reading, we become like his protagonist: restless strivers yearning for something different and altogether bigger than ourselves.”

Blogger considers Updike, Rabbit and Tolstoy

screen-shot-2016-12-26-at-9-22-47-am‘Twas the night before Christmas, and blogger Richard Smith (Richard Smith’s non-medical blogs) spent the evening pondering the connection between John Updike and his alter ego, Harry “Rabbit” Angstrom—specifically, by reading, considering, and including quotes from the novella Rabbit Remembered, with a comparison to Tolstoy thrown in for good measure:

“One of the characters in Rabbit Remembered says of the detective novels she is always reading, ‘How do they make all this up? They must have a screw loose.’ John Updike I feel is mocking himself. I’m sure that he thinks he has a screw loose, and he’s glad about it. He wouldn’t have wanted to have all his screws tight; who does?

“I came to read Rabbit Remembered by mistake. I’ve been slowly—here and there, for a shot of humor, color, and inventiveness, like a glass of Cognac—been reading my way through Updike’s Licks of Love. When I started reading Rabbit Remembered I thought I was reading another short story, but it’s a full novel, or at least a novella. I read more than half of it in one go on the plane yesterday from Bengaluru to London. That’s the way I read. (I seem to have given up watching films on planes: they almost always disappoint. My novels, never—I’m too choosy.)

“Every sentence of Updike carries poetry and sharp observation—and often a joke as well. I’ve been reading Rabbit Remembered at the same time as reading Anna Karenina, and most sentences of Tolstoy contain insights—but they don’t have the fizz, the joy of words, the poetry of Updike (they probably have more poetry in Russian). The beauty of Tolstoy is in the vast range and the deep and timeless psychological understanding. In Anna Karenina marriage (“that bloody business”) is examined from every angle. Updike too exams relationships acutely, but in a lighter, funnier way. Perhaps some would find Updike overwritten, but his sentences sing and seem effortless, which, of course, they can’t be.”

The full post can be found here:  “Rabbit and Updike remembered.”

Those intrigued by Smith’s insights may want to also read his Dec. 25, 2016 post, “John Updike on the demented as a ‘dead weight’ on society,” also sparked by his reading of Rabbit Remembered.

Call for papers, panels for ALA in Boston

screen-shot-2016-12-22-at-10-53-11-amThe ALA has issued its annual Call for Papers, to be presented at the 28th Annual Conference of the American Literature Association on May 25-28, 2017, in Boston.

As in previous years, the conference will be held at the Westin Copley Place, 10 Huntington Ave., and as in previous years member organizations are encouraged to sponsor two sessions.

This year The John Updike Society would like to sponsor two sessions:

  1. A moderated 4-5 person panel inspired by a recent article, “Did Updike’s Rabbit Angstrom Anticipate or Parallel the Rise of Trump Voters?”
  2. An open session with moderator and three papers presented on Updike—preferably compared to other authors.

If you are interested in participating, please contact James Plath, jplath@iwu.edu.

 

PECO Foundation continues Updike house support

The John Updike Society has just received a $10,000 donation from The PECO Foundation of New York, N.Y. to “help support the John Updike Society’s project to preserve the Updike family house.”

The foundation’s support has been crucial in past years, and this year, as the society tries to bring the interior/exterior restoration to a close, their donation is much needed and much appreciated.

The PECO Foundation provides gifts, grants, or loans to other organizations and has supported The John Updike Society’s house project since 2012.

 

Updike turns up in NYT Year in Reading retrospective

screen-shot-2016-12-22-at-9-06-34-am“In this season of giving,” a Dec. 19, 2016 New York Times Book Review post began, “we asked some notably avid readers—who also happen to be poets, musicians, diplomats, filmmakers, novelists, actors and artists—to share the books that accompanied them through 2016.”

Not all the books in “The Year in Reading” were published in 2016, and Updike appeared on two lists:

—Carl Bernstein, of Woodward and Bernstein Watergate fame, includes John Updike: The Collected Stories on a list of “works most enjoyed or valued, in no particular order,” while

—Writer Maxine Hong Kingston lists books in the order in which she read them, including Updike’s In the Beauty of the Lilies.

What Updike books have you read in 2016, or do you plan to read in 2017?

Marry Me the subject of a University of Tehran thesis

screen-shot-2016-12-22-at-8-44-12-amMember Narges Zarei has completed her thesis on “Postmodern Manifestation of Romance in Updike’s Marry Me: A Romance: Dissociation from Conventional Romance,” in which she concludes that “not only does Updike relate his novel to the eight essential characteristics of a romance novel, but he also employs the other three minor features in Marry Me. He deconstructs some of these essential elements to depart his romance novel from conventional ones in order to make it a postmodern romance. Updike sticks to elements of conventional romance novels namely society defined, the meeting, the attraction, the declaration, point of ritual death, wedding, dance, or fete, scapegoat exiled, and the bad converted. Nevertheless, Updike dissociates from conventional romance novels in terms of the barrier, the recognition, and the betrothal.”

Here is her full thesis: zarei-marry-me. She would be pleased if people who read it might post comments.