Banned books: Updike’s Rabbit is in good company

Unsurprisingly, John Updike’s Rabbit, Run is banned in many schools. But so is George Orwell’s Animal House, F. Scott Fitzgerald’s The Great Gatsby, Joseph Heller’s Catch-22, John Steinbeck’s Of Mice and Men, William Golding’s Lord of the Flies, Alice Walker’s The Color Purple, and J.D. Salinger’s The Catcher in the Rye—all books, like Rabbit, Run, that were once taught in schools without protest.

But when books like Maurice Sendak’s Where the Wild Things Are and Bill Martin Jr./Eric Carle’s Brown Bear, Brown Bear, What Do You See? and E.B. White’s Charlotte’s Web also make the banned books list, it sends a message more disturbing than the act of censorship: it’s sad proof that American minds are narrowing more than ever before.

Here’s an article on “45 Books You Read in School That Are Banned Now,” which was published in Earn Spend Live.

Updike turns up on new HBOMax Julia Child series

To readers of John Updike, Judith Jones is well known as the author’s longtime editor at Alfred A. Knopf. But before she worked for Knopf, Jones was known as the one who pulled The Diary of Anne Frank out of the rejection pile at Doubleday. And at Knopf, while she was establishing a relationship with Updike, she was also championing Julia Childs’ Mastering the Art of French Cooking.

Jones (played by Fiona Glascott) features prominently as a character on the new HBOMax series Julia, a fictionalized account of how Child got her start at WGBH-TV, Boston’s PBS station. The first three episodes dropped on March 31, 2022. According to the cast list at the Internet Movie Database, Updike doesn’t make an appearance. But in the first three episodes Jones’ other “project” is frequently mentioned: as the author of Rabbit, Run, as a new bright star in the Knopf universe, as a writer having a “crisis” Jones suspects is merely a ploy for a free lunch, and as the originator of a manuscript she’s editing on the WGBH set while she multitasks.

Sarah Lancashire stars in the title role, with Frazier alums David Hyde Pierce and Bebe Neuwirth appearing as Child’s husband and best friend, respectively. Dale Place plays Alfred Knopf. So far the series has an 8.1 rating out of 10 from IMDB.com viewers and critics.

UPDATE: In Episode 4, a bespectacled Updike finally makes an appearance, played by Bryce Pinkham. Pinkham was an original cast member of the Broadway shows A Gentleman’s Guide to Love and Murder, Ghost: The Musical, and Bloody Bloody Andrew Jackson. He also appeared in the PBS series Mercy Street.

Glascott as Judith Jones, with Pierce playing Paul Child
Bryce Pinkham as John Updike on a WGBH interview program in the HBOMax series Julia

Article on banned books includes Rabbit, Run (of course)

Suzanna Bowling, who co-owns and publishes the newspaper Times Square Chronicles, penned and posted an article titled “Book Banning: What Is This Nazism?” that includes Updike’s Rabbit, Run . . . though other books on her list have sparked more outrage.

Bowling’s annotated list includes specifics on the bans, challenges, and restrictions that have been directed at such books as The Great Gatsby, The Catcher in the Rye, The Grapes of Wrath, To Kill a Mockingbird, The Color Purple, Beloved, Of Mice and Men, Catch-22, The Sun Also Rises, As I Lay Dying, A Farewell to Arms, Invisible Man, Song of Solomon, One Flew Over the Cuckoo’s Nest, Slaughterhouse-Five, For Whom the Bell Tolls, The Jungle, and All the King’s Men. In other words, great, classic American literature.

Slaughterhouse-Five, for example, was “challenged in many communities,” banned in the cities of Rochester, Levittown, North Jackson, and Lakeland, and burned in Drake, N.D.

Rabbit, Run, by contrast, got off easy. It was banned in Ireland from 1962-67, restricted to high school students with parental permission in the six Aroostock County, Maine community high school llibraries, and removed from the required reading list for English Class at Medicine Bow Junior High School in Wyoming.

Though Banned Books Week isn’t until September 18-24, 2022, if you’re looking to get an early start on your reading or rereading list, here’s the full story. Bowling suggests that everyone might encourage their local bookstores (and for that matter, libraries) to show support for banned books during Banned Books Week.

Literary Hub recommends the best Bard reimaginings

Last week Literary Hub ran an article “On Reimagining the Infinite Dramatic Scope of Shakespeare and His Immortal Characters,” in which Kathryn Barker recommended “five cracking titles that rework the Bard’s famous plays.”

It will come as no surprise to fans of John Updike that Gertrude and Claudius made the list. Of Updike’s imaginative historical novel, Barker wrote, “Shakespeare’s play Hamlet kicks off with a powder-keg dynamic for its titular character—his father is dead and his mother has married his uncle. But how did things get so complicated? In Gertrude and Claudius, Updike explores the lives of Hamlet’s mother, father, and uncle before the Prince of Denmark vowed his revenge and took center stage. A prequel that ends just after the start of Shakespeare’s play, this ambitious novel gives insights into characters who—in the original text—were largely supporting.”

Other novels that made the list: I, Iago by Nicole Galland; Ophelia by Lisa Klein; Rosencrantz and Guildenstern Are Dead by Tom Stoppard; and I Am Juliet, by Jackie French.

Barker might have included her own Waking Romeo, now available from Amazon, because it too is a retelling of a Shakespeare classic.

Former minister says Updike all but told his story

In an opinion piece for Baptist News, David Ramsey contemplated “Atheism and agnosticism: The last closet,” which began,

“In 1996, John Updike released his 17th novel, In the Beauty of the Lilies, a story about a Presbyterian minister, Clarence Wilmot, who loses his faith, leaves the ministry and becomes an encyclopedia salesman. In a strange case of art imitating life, Updike was narrating my story. I was a Baptist minister who had slowly been losing my faith. That same year, I left the ministry and embarked on a second career in technology sales.

“While Updike captured my painful but liberating movement from Christianity to agnosticism, he failed to narrate the stigma and stereotypes associated with being an agnostic or atheist,” Ramsey wrote.

“Last year, I wrote a book in which I discuss my journey from minister to agnostic and critique popular religious notions like ‘everything happens for a reason.’ I have friends who have reviewed my book online, some of whom masked their names to avoid being outed by their association with a controversial topic and agnostic writer,” Ramsey said.

Read the whole opinion piece.

New NY Times book editors share book criticism favorites

In an article titled “Times Critics Discuss 2021 in Books, From Breakout Stars to Cover Blurbs,” new critics Molly Young and Alexandra Jacobs were asked if they had any all-time favorite books of criticism that they would recommend people “delve into over the holidays.”

Jacobs replied, “John Updike’s Hugging the Shore and Odd Jobs are the bookends of my Updike Shelf (about which, another time). Here was someone who didn’t have to review or consider his contemporaries or predecessors, and yet industriously, prolifically did. What generosity.”

When Young weighed in with “Martin Amis’s collection The War Against Cliché. His flow is insane,” Jacobs said, “Wait, I meant to say that! Well, Amis has written about Updike and Updike about Martin’s father, Kingsley, so maybe this is a male literary turducken . . . .”

The argument over Updike’s literary legacy

Shortly before The John Updike Society convened in Reading, Pa. for their 6th Biennial Conference, Jonathan Clarke published a piece in City Journal titled “John Updike and the Politics of Literary Reputation.” In it, he assesses the current problem: Updike’s fall from literary grace during a time of “cancel culture” and the #metoo movement.

“His is a striking case study in the politics of literary reputation in a time of generational upheaval,” Clarke writes. “Updike has not been a victim of cancel culture. He merely represents the ancien regime.”

Clarke suggests that “Updike’s self-effacing public manner now looks like a tactical error in the long game of literary reputation. Philip Roth and Toni Morrison never tired of singing the song of themselves—and why not, in the end, when the world is so crowded and busy? It’s not that Updike was modest about his talent; it’s simply that he embodied the cultural style we associate with American Protestantism. The vanquishing of that once-dominant mode has contributed to a growing incomprehension of Updike’s work.”

Read the whole article.

Of course, questioning Updike’s status as a writer of stature is nothing new. Those who have followed the critical response to Updike’s work will think immediately of John Aldridge’s early claim that Updike might be a great stylist but that he “has nothing to say.”

In 2014, The New Republic took up the issue again in a debate between English comedian, novelist, and TV personality David Baddiel and literary critic-biographer Jeffrey Meyers: “John Updike: Tedious Suburbanite, Literary Great.” Prompting the debate was the release of the Adam Begley biography, Updike.

Baddiel argues on the “for” side. He begins, “Let’s begin by making one thing clear. John Updike was the greatest writer in English of the last century. Unquestionably, he was the best short story writer; I would argue the best novelist, certainly of the postwar years; one of the very best essayists and in the top 20 poets.” On the negative side, Meyers calls Updike’s New Yorker contributions “made-to-order” and dismisses the magazine entirely as a group of editors and contributors who engaged in “mutual admiration” and “quarrelled over a semicolon but encouraged facile content and ironed out all traces of distinctive style.” Meyers concludes, “Updike, cherishing every scrap of his personal life and striving for mythical significance in his daily doings, fell back on the trivial and tedious details of his small-town childhood.” Ironically, in his biography of Hemingway, Meyers doesn’t take that author to task for mining his own adolescence to create a series of stories set in Michigan, or later stories and novels that also reflect Hemingway’s lived experiences. So maybe it all comes down to a long-debated aesthetic question: what is a suitable subject for art?

Writer questions literary Cancel Culture

In recent years, males who have taken advantage of women have been toppled amid cries of “toxic masculinity,” and Confederate statues and monuments have been removed because of “cancel culture.” But in his Spectator essay “Read Ray Bradbury before he’s canceled,” associate editor Ron Liddle questions whether the backlash against writers for alleged sexism or racism isn’t somewhat like pushes from the other side of the political arena to ban books from school libraries. His essay raises other questions: Should writing about a fictional man who abuses women or spouts racist things be treated the same as a flesh-and-blood man who abuses women or says racist things? Can a male write about a misbehaving male protagonist? Should a writer be held accountable for a character’s behavior? When it comes to art, is censorship ever justifiable? If so, when, and under what circumstances? And what about inconsistencies? Why are older novels that feature sexist male protagonists not held in the same contempt as those from a more recent past? Is “cancel culture” driven by personal crusades?

Although Liddle focuses on Bradbury, Updike also factors into the discussion. “Frankly, it’s a wonder we are allowed to read [Bradbury] at all. But that’s where Fahrenheit 451 got it right. After reading Bradbury I moved on to Henry Miller, Saul Bellow, Philip Roth and John Updike — especially Updike, another small-town writer. These people seemed to me giants of literature and yet I suspect you will have to search high and low to find them on a university syllabus, so comprehensively have their reputations been trashed for political reasons.

“Updike, an almost lifelong registered Democrat, is loathed for his supposed misogyny and racism,” Liddle writes. “I read an academic article recently supposedly in support of Updike: it said he should be read because we needed to know what a vile bastard he really was. Saul Bellow is canceled because he became a bit gamy about the neighborhood gangs in Chicago, and also for Henderson the Rain King and Mr Sammler’s Planet, which are considered terribly racist. And Philip Roth? Hell, even his biographer has been canceled. Maybe we ought to memorize a book or two from each of these wonderful writers, in order to keep the memories alive. I’ll take Updike’s Couples, if that’s OK — I already know most of it by heart. It’s late now. There’s a wind whipping up and the distant sound of thunder carrying the whiff of autumn. I am no longer 15 years old. But I might still hunker down between my sheets with Bradbury, comforted by the tales of the weird and ominous stuff going on just outside.”

U and F

Anything goes these days when it comes to online journalism, partly because so much of what passes for news is opinion posted by untrained non-professionals, but also partly because times have changed.

Just not The Times. Though a recently posted Medium story concerned The New York Times, it’s doubtful that the beacon of the news-gathering profession would run the headline “A Brief History of ‘Fuck’ in The New York Times.” But there it is, casually screaming at you with the subhead “Also fucked, fucking, fucker, motherfucker, and Airbnfuckingbs.”

As Updike fans might imagine, the author who helped push the boundaries of acceptability in literary fiction and poetry factors into the discussion. But he wasn’t the first to slip a naughty word past Times editors.

“As it turns out, a majority of the Times’ fucks over the years have slipped in by means of book excerpts, mostly novels—including what appears to be the first, in 1984, from John Irving’s A Widow for One Year: ‘Yet not even then would he regret having fucked Ruth’s mother.’ According to my archival search, the second fuck didn’t appear for another 13 years, until 1997—a John Updike character recalling that when he was ‘courting’ his wife he’d been ‘attracted to her way of saying “fuck” instead of a softer expression.’ The third appearance, in 1998, is the first figurative use—funny, given that it’s from the special prosecutor’s report on President Clinton’s sex scandal, Monica Lewinsky recorded saying she wished he would ‘acknowledge . . . that he helped fuck up my life.'”

Writer Kurt Andersen did not say what naughty word(s) he intends to search next.

Review of witch novel prompts another Updike comparison

In Wyatt Mason‘s June 4 Wall Street Journal review of Everyone Knows Your Mother Is a Witch, the reviewer praised author Rivka Galchen by comparing her novel to what he feels are less successful witch-driven narratives:

“High-art witch stories have tended to fare less well, the metaphorical potential of the material turning art into a civics class. Arthur Miller’s play The Crucible is the worst of these, so clearly an allegory for Wrongful Persecution by the Powerful. It is almost tied for badness with John Updike’s The Witches of Eastwick, a satire of male power (creep undone by vengeful coven) that these days is hard not to read as a male fantasy about a four-way with a man in the middle.”

If you’re going to be criticized, there’s worse company to be in than Arthur Miller’s.