Garrison Keillor remembers Updike’s birthday

Although The Writer’s Almanac featured a poem by Tom Hennen yesterday, unabashed Updike fan Garrison Keillor still remembered the author’s birthday with a nice long biographical summary, lest anyone forget:

“It’s the birthday of writer John Updike (books by this author), born in Reading, Pennsylvania (1932). His father was a high school teacher, and his mother aspired to be a writer; Updike said: ‘One of my earliest memories is of seeing her at her desk. I admired the writer’s equipment, the typewriter eraser, the boxes of clean paper. And I remember the brown envelopes that stories would go off in — and come back in.’ As a boy, Updike wanted to be a cartoonist, not a writer. He cut out comic strips and sent fan letters to cartoonists, drew caricatures of classmates, made posters, and tried to draw cartoons like the ones he saw in his family’s copy of The New Yorker. As a teenager, he sent his cartoons to major magazines, including The New Yorker, and although he didn’t publish any there, he did earn five dollars selling a cartoon to a dairy journal. He went to Harvard, where he joined the staff of The Harvard Lampoon as a cartoonist, but ended up writing too. By graduation, he was fairly certain that he would become a writer instead of an artist. He said of writing: ‘It took fewer ideas, and I seemed to be better at it. There is less danger of smearing the ink.’

“Despite his intentions to become a writer, he got an art scholarship to study at Oxford. He was newly married, and he and his wife moved to England, where their first daughter was born. While he was at Oxford, he met E.B. and Katherine White, who were vacationing in England. They convinced him to apply for a job at The New Yorker, so after his time at Oxford, he moved to Manhattan to work as a staff writer for the magazine, writing the ‘Talk of the Town’ column. He was not a big fan of life in the city — he said, ‘The place proved to be other than the Fred Astaire movies had led me to expect.’ Two years later, the Updikes had a second child and decided to leave New York and move toIpswich, Massachusetts. Updike had just turned 25 years old.

“Soon after his move, he published his first books: a book of poems, The Carpentered Hen (1958); a novel, The Poorhouse Fair (1959); and a book of short stories, The Same Door (1959). Another son was born in 1959, and a daughter 19 months later. Despite the success of those early years — in 1960 he published Rabbit, Run, the first of his great books featuring Rabbit Angstrom — he underwent a spiritual crisis. He said, ‘These remembered gray moments, in which my spirit could scarcely breathe, are scattered over a period of years; to give myself brightness and air I read Karl Barth and fell in love with other men’s wives.’

“After the birth of his third child, he had rented an office above a restaurant in Ipswich, and spent several hours each morning writing there. Throughout his 50-year career, he remained devoted to that schedule, writing about three pages every morning after breakfast, sometimes more if things were going well. He said: ‘Back when I started, our best writers spent long periods brooding in silence. Then they’d publish a big book and go quiet again for another five years. I decided to run a different kind of shop.’ He wanted to publish about one book a year, and took Sundays off for church, although later in his career he sometimes worked on Sundays too. In 2008, he said, ‘I’ve become a beast of the written word, a monster of a kind, in that it’s all I can do.’

“Updike published more than 60 books in his lifetime, including 28 novels. His books include Couples (1968), Rabbit is Rich (1981), The Witches of Eastwick (1984), and The Complete Henry Bech (2001).

“He said: ‘At the point where you get your writerly vocation you diminish your receptivity to experience. Being able to write becomes a kind of shield, a way of hiding, a way of too instantly transforming pain into honey.'”

Gopnik cites Updike in essay about American norms

Screen Shot 2015-03-18 at 6.50.09 AMAdam Gopnik‘s latest essay for The New Yorker on American norms, “Iran, Inequality, and the Battle of American Norms,” references John Updike:

“The play between norms and laws is one of the great subjects of literature. Should Achilles give back Hector’s body to the Trojans? It’s only a battlefield norm, but the Iliad turns on it. The great novels of norms—American norms, at least—are the four books in John Updike’s Rabbit series, which are, exactly, all about the price of accepting the norms that a middle-class society imposes on the average sensual male (or female) citizen. Harry (Rabbit) Angstrom marries his pregnant girlfriend, stays with her dutifully after various failed attempts at escape to a life of more immediate gratifications, and then has the ironic sense, as the books go on, that he is the only one in America still sticking to the old self-imprisoning norms. Group sex comes in the door, and the inhibitions go right out the window. Is it an entrapping net or a reassuring pattern of premade choices? It depends on which side of the norm you’re sitting.”

Guardian offers a brief survey of the short story: Updike


Screen Shot 2015-02-22 at 11.58.08 AMThe Guardian
Books Blog has been writing their version of “A brief survey of the short story,” and this past week writer Chris Power got around to John Updike. He writes that “there is enough Updike, with enough difference in quality, that you could plausibly read a lot of him without encountering a dud, and read just as much in another, unluckier direction without encountering anything particularly good. Few writers are more in need of a well-chosen collection of selected stories.”

He’s right, actually. A single volume of “greatest hits” would be a sure contender for another Pulitzer Prize and make Updike the all-time leader in fiction Pulitzers. Right now he’s tied with Booth Tarkington and William Faulkner as the only American writers to win the prize twice.

Power, who says the “best place to begin is in Olinger,” concludes with a quote from Updike:  “‘I cannot greatly care what critics say of my work,’ Updike said in 1968. ‘If it is good, it will come to the surface in a generation or two and float, and if not, it will sink.’ Much of his work, despite the nearly unfailing presence of a memorable simile, or pitch-perfect phrase, will disappear in time. Some—a small amount by Updike’s standards perhaps, but more than many can hope for—deserve the permanence we ourselves are denied.”

“A brief survey of the short story: John Updike”

New Yorker copy editor talks about work . . . and Updike

UnknownIn an essay titled “Holy Writ: Learning to love the house style,” Mary Norris writes a “personal history” that covers her first job and how she came to be a copy editor for The New Yorker. She also talks about some of the writers she admired, among them, John Updike:

“And there were writers whose prose came in so highly polished that I couldn’t believe I was getting paid to read them: John Updike, Pauline Kael, Mark Singer, Ian Frazier! In a way, these were the hardest, because the prose lulled me into complacency. They transcended the office of the copy editor. It was hard to stay alert for opportunities to meddle in an immaculate manuscript, yet if you missed something you couldn’t use that as an excuse. The only thing to do was style the spelling, and even that could be fraught. . . .

“I was on the copydesk when John McPhee’s pieces on geology were set up. I tried to keep my head. There was not much to do. McPhee was like John Updike, in that he turned in immaculate copy. Really, all I had to do was read,” she writes.

Norris began working at The New Yorker in 1978 and has been a query proofreader at the magazine since 1993. Her book, Between You & Me: Confessions of a Comma Queen, will be published by W. W. Norton & Co. on April 6, 2015.

Irish actor’s favorite book: Rabbit, Run

Screen Shot 2015-02-15 at 7.35.27 AMThe entertainment section of The Independent today ran a Q&A interview, “A question of culture: Actor Emmet Kirwan,” in which they asked the young Irish actor what his favorite book was.

Rabbit, Run by John Updike,” he answered. “The first of a quartet of Rabbit books, but still my favorite. It speaks to a restlessness in people edging towards 30. Updike makes a flawed American everyman character likable, even as he wrecks the lives of everyone around him.”

Ironically, when asked to name a book he couldn’t finish, Kirwan cited the Jack Kerouac novel that inspired Updike to write Rabbit, Run as a kind of counter-argument:

On the Road. It’s one I felt I should read as opposed to wanting to. I was encouraged to give it a second chance, but found it tough work and boring.”

For Kirwan, “favourite city” was no contest: “It would have to be Dublin, wouldn’t it? It’s a capital city but it’s also a village. Just the right size.”

British comedian picks Updike for his one book on a desert island

Screen Shot 2015-02-07 at 7.51.33 PMThe Daily Mail asked British comedian David Baddiel (The Mary Whitehouse Experience) which book he’d take to a desert island, and he chose John Updike. Or more specifically,

“The Rabbit omnibus by John Updike. This is actually five books all about the same character:  Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit at Rest and Rabbit, Remembered. All human life is there.”

The occasion for the interview was the publication of Baddiel’s first children’s book, The Parent Agency (HarperCollins). It’s available from Amazon.

English major talks about Getting Over Updike

First Person Singular focuses on a January 14 blog post by Jon Busch titled “Getting Over Updike,” which begins,

“John Updike was a living legend around Gordon College. He lived mere miles from our tiny campus, and swapping tales of ‘Updike sightings’ was a common pastime among English majors.”

Updike “encounters” were apparently just as common, and Busch shares several humorous anecdotes, along with his somewhat embarrassed reaction to A Month of Sundays.

He writes, “Regardless of the absurdity and vulgarity of A Month of Sundays, I do wish we Gordonites had not irrevocably offended Updike all those years ago. His ‘Seven Stanzas at Easter’ alone is adequate atonement for a lifetime of bad sex writing.”

Gordon College is a Christian school in Wenham, Massachusetts. “Legend has it (and I have no way to verify this) that an intrepid English professor in the late seventies or early eighties struck up a friendship with Updike and asked him to come speak on campus. Updike accepted the invitation, but had to be ‘disinvited’ when the president of the college famously declared, ‘I don’t want that pornographer anywhere near our campus.

“Decades later, an Updike convocation was still off the table. Apparently, the man knew how to hold a grudge. We English majors held a grudge as well, against that ignorant, foolish president who damned us to an Updike-less, and thus incomplete, education.”

It was only after reading A Month of Sundays many years later that Busch says he developed “sympathy for the old president’s position.”

Infamous Updike detractor gets his own reader

wallaceThe late David Foster Wallace, who famously attacked Updike and other literary Johns, is featured in The David Foster Wallace Reader and the subject of a Newsweek cover story by Alexander Nazaryan.

For any fan of Updike who’s more familiar with Wallace’s sniping than with Wallace and his fiction, “The Turbulent Genius of David Foster Wallace” provides a good summary of the career of the author of Infinite Jest, who killed himself in 2008.

In it, Updike is mentioned . . . of course, pejoratively.

David Updike on Growing up Updike

GrowingupUpdikeDavid Updike, the current John Updike Scholar in Residence at Alvernia University, is featured in a new Alvernia Magazine article titled “Growing up Updike” (pp. 20-24).

In it, he talks about what it’s like being the son of one of America’s most celebrated authors and shares memories of one particular family trip to Pennsylvania, where his father “took us to see his old house in Shillington, but was too shy to knock and ask to go in,” so he “walked us back to the playing field [at the high school behind the house] and the shelter where he used to play roof ball,” David writes.

“Even at an early age I could sense his disappointment that we seemed to underappreciate these places which, for him, held such sweet emotional weight—the memory of childhood, of his being seven, or so, and sprinting out of the side door of his house [at 117 Philadelphia Ave.] to join his friends in the Pennsylvania twilight, to play a final game of roof ball.”

DavidUpdike“It must have been a surprise to my parents, as it was to me, when I started to write short stories, and then odder still, had them accepted by The New Yorker. Photography, not writing, had been my preferred medium, and I knew well that my father had toiled for a decade or so—sending off countless cartoons, and spots, and light verse—before his poems were accepted by The New Yorker.

“I knew that my own success was somehow unjustified—unearned. I need not have worried, for in my mid-twenties things got more difficult, and I was languishing in New York, where I had moved for no very good reason . . . .”

Commonweal: Updike made it look easy

In a Commonweal article inspired by Adam Begley’s recent biography, Rand Richards Cooper considers “The Charms of the Conqueror: How John Updike Made It Look Easy.”

“His writing flickers with the hope that the world was created, and thus merits the devotion of attention (by fictional characters) and description (by Updike himself),” he writes.

“The Rabbit novels are crammed with the trivia of American life down the decades, and their accumulating excess reminds us that far from being ‘untroubled,’ Updike wrote from a condition of spiritual urgency.”

“Having read Begley’s book, I shouldn’t be surprised that Updike wrote to the very end; still, I find myself awed by the courage it must have taken to sit in the fearful presence of death and write . . . a sonnet?”

Cooper concludes, “After someone we love dies, his or her voice stays with us, fresh and close, for years; we keep expecting the phone to ring with that voice on the other end; we experience frank disbelief, and renewed sorrow, at the idea that its owner truly is gone forever. It’s not much different with a writer one has loved. Keep company with a writer, in many books over decades of your life, and you grow accustomed to his presence; you hear his voice in much the same way you hear a friend’s or a sibling’s. Updike in his early years imitated other writers’ styles, channeling first Fitzgerald and Hemingway, and later Salinger and Nabokov—praising them by imitating their voices before eventually settling in to play his own exquisitely tuned instrument. Reading his prose in this life-and-art-affirming biography, I hear him vivid as ever, and miss him all over again.”