50BC08 #19 Standing Room Only & #20 The Curious Incident of the Dog in Night-Time (Haddon)

50 BOOK CHALLENGE #19 TITLE: Standing Room Only: Strategies for Marketing the Performing Arts AUTHORS: Philip Kotler and Anne Scheff YEAR: 1997, Harvard Business School Press PAGES: 560 GENRE: non-fiction, marketing, textbook, arts management RATING: 4 out of 5 stars Kotler and Scheff have managed to write a textbook that is relevant, well-organized AND interesting! While the style is characteristically dry, the prose is peppered with plenty of real-life case studies that help elucidate both the marketing concepts themselves and the application thereof. The chapters are helpfully broken into sub-categories which makes for easy note-taking and comprehension. I can see why this has been the Arts Marketing bible for so long. The only thing we need is an updated version with more intense focus on internet marketing, etc. 50 BOOK CHALLENGE (2008): #20 TITLE: The Curious Incident of the Dog in the Night-Time AUTHORS: Mark Haddon YEAR: 2003, Vintage Books (Random House) PAGES: 226 GENRE: fiction RATING 4.5 out of 5 stars The Boston Globe called this book, "gloriously eccentric..." which is an inaccurate way to represent this story by Mark Haddon. If anything, Haddon enters the world of autism and demystifies it, making it less eccentric. We see the world through the eyes of fifteen year-old Christopher Boone, who abhors the color yellow, but calms himself by solving complicated math problems in his head. The reader learns to re-calibrate his or her own emotional responses a la Christopher, for whom things hurt according to their logical content or lack thereof. This book has many strengths, and Christopher's father is perhaps one of the best examples of a sympathetic but highly flawed character. While Christopher is undoubtedly the book's protagonist, the non-autistic reader will more likely empathize with Christopher's father, who is capable of both great love and great destruction. Aside from Christopher's discussions with his therapist Siobhan, the book wisely veers away from preachy explanations about autism. Even the therapy sessions are more about interpersonal connection than outlining the intricacies of autism, and it is this that helps the reader to connect to Christopher in something other than sympathy. We engage with Christopher's world, not the world of autism...and this is right as autism spectrum disorders defy generalizations or easy categories. The end result, if anything, is that the eccentricity of general humanity is exposed. We become conscious of our everyday lack of logic. The novel is just as much about the human condition as the autistic condition.

50BC08 #9: Things Fall Apart

50BC08 #9: Things Fall Apart
Author: Chinua Achebe
Year: 1959 (Anchor Books, 50th Anniversary Edition)
Genre: Fiction, African Literature
Pages: 209
Other: Part of 1001 Books to Read Before You Die list

This is an extraordinary book in its ability to narrate both a story of cultural dissonance and an overarching tale about the human condition. Achebe's novel broaches the subject of morality, but demonstrates that even the concept of "evil" is subject to a cultural interpretive context.

Okonkwo, the book's tragic hero, is an emblem of tradition, but also represents how tradition can be subject to the inner turmoil of the human soul. While the Ibo people must face the threat of European missionaries, Okonkwo must confront the threat of his own misplaced hubris. Achebe is a sympathetic voice, but is unafraid to reveal the flaws of his characters as a commentary upon our own imperfect existence.

This is probably one of the best introductions to African fiction, precisely because the story does not limit itself to the African context. The author's investigation of tragedy is pragmatic, yet emotionally stimulating without being romanticized. It is a book that will help the western reader more easily understand not only Nigerian tribal culture, but the power of ideas and their institutions.

9 / 50 (18.0%)

50BC08 #7: Doctor Faustus

50 BOOK CHALLENGE #7
BOOK: Doctor Faustus
AUTHOR: Thomas Mann (Translator, John E. Woods)
YEAR: 1947 (Vintage International Edition, 1999)
PAGES: 534
GENRE: fiction
RATING: 4.5 stars out of 5


In partial thanks to Alex Ross' The Rest is Noise, Thomas Mann's 1947 novel Doctor Faustus is enjoying a renewed popularity, at least with those of us in the music community. I finished it yesterday morning, only to meet with a notable musicologist that same afternoon who had a copy of the novel in his hand. I started it well before I knew of Ross' reference to it, but found it a lovely coincidence when I began reading Ross' book about a month into my reading of Doctor Faustus.

It is rare that it takes three months for me to finish a novel, but I have a few theories as to why this was (aside from the rigors of a teaching schedule/adjunct commute).
The novel operates on so many levels it is difficult to read more than a few chapters before you need to stop to digest. Keeping track of the numerous secondary characters is a painstaking, but worthwhile, endeavor. Mann forms his environment with this multitude, presenting a photograph of German bourgeois life in the early 20th century.

The book warrants musicological analysis in its debt to Schoenberg, its continuation of the intimate connection between Faust and music, and its portraiture of Germanic musical existence (for starters). But even outside of musicological inquiry*, the book is full of literary paths one can tread should they choose. The relationship between the book's narrator and his forsaken hero, Adrian, dallies in sentiments rarely explored between two male characters. There are some echoes of Hesse's Narcissus and Goldmund, except that Adrian Leverkühn's encounter with "love" comes with dire consequences.

I'd like to re-read the novel with a focus on the music only, because what resonated for me most loudly was how the book serves as a treatise on the dangers of blind nationalism. The narrator, Zeitblom, frustrates the reader with his various digressions, until you realize they are not digressions at all but allegories. His reflections about wartime Germany telescope into Adrian's own struggles. There were moments that made me stop and put the book down as I was yanked into my own reality:

"...the democracy of the West--however outdate its institutions may prove over time, however obstinately its notion of freedom resists what is new and necessary--is nonetheless essentially on the side of human progress, of the goodwill to perfect society, and is by its very nature capable of renewal, improvement, rejuvenation, of proceeding toward conditions that provide greater justice in life." (358)

I suppose I still believe this...but I note also Zeitblom's comments a couple of pages earlier regarding Germany:

"It is the demand of a regime that does not wish to grasp, that apparently does not understand even now, that it has been condemned, that it must vanish, laden witht eh curse of having made itself intolerable to the world--no, of having made us, Germany, the Reich, let me go farther and say, Germanness, everything German, intolerable to the world." (356)

This is why I read.

Readers who have no musical background will likely find themselves frustrated with some of the lengthy musical explications. I suggest skipping/skimming them. Normally I would never recommend this, but there is so much else to be had from reading this novel that it would be such a disservice to throw the myriad babies out with the musical bathwater. For the musically-inclined reader, however, the plethora of references to composers and pieces is a ready-made listening list and a chance to experience a nation's struggle with both political and aesthetic ideologies.

* Dial M recommends Edward Said's On Late Style: Music and Literature Against the Grain. I have not yet read this book, but it is on the list!

(Crossposted)

50BC08: #3 The Music of Chance (Auster)

50 BOOK CHALLENGE 2008 #3 TITLE: The Music of Chance AUTHOR: Paul Auster (Penguin, 1990, 217 pages) GENRE: Fiction Rating 3.5 out of 5 I appreciated what this novel was trying to do, but was bothered by my complete and utter lack of attachment to the characters. The premise (lives colliding by chance) is intriguing and the narrative is beautifully executed. What was missing for me was the answer to "why?." The main character seems to be a passive observer to his own life, with a few moments of real passion interspersed. Auster does have a gift for metaphor, using Pozzi and Nashe's wall as a symbol of perseverance and incarceration at the same time. There is a tenderness that while left largely unexplored, runs like a tiny stream throughout the story. It is this stream that saves the book. We learn how quickly solitude loses its freedom-like quality when faced with personal loss. (cross-posted)