Maps and Legends: Reading and Writing Along the Borderlands - Softcover

Chabon, Michael

Softcover

ISBN 10: 0061650927 ISBN 13: 9780061650925

Publisher: Harper Perennial, 2009

Synopsis

Maps and Legends is an essay collection by American author Michael Chabon that was scheduled for official release on May 1, 2008, although some copies shipped two weeks early from various online bookstores. The book is Chabon's first book-length foray into nonfiction, with 16 essays, some previously published.[1] Several of these essays are defenses of the author's work in genre literature (such as science fiction, fantasy, and comics), while others are more autobiographical, explaining how the author came to write several of his most popular works.

About this title

About the Author

Michael Chabon is the bestselling and Pulitzer Prize-winning author of Moonglow and The Amazing Adventures of Kavalier & Clay, among many others. He lives in Berkeley, California with his wife, the novelist Ayelet Waldman, and their children.

Excerpt. © Reprinted by permission. All rights reserved.

Maps and Legends

Reading and Writing Along the BorderlandsBy Michael Chabon

HarperCollins Publishers, Inc.

Copyright © 2009 Michael Chabon
All right reserved.
ISBN: 9780061650925

Chapter One

Trickster in a suit of lights

Thoughts on the modern short story

Entertainment has a bad name. Serious people learn to mistrust and even to revile it. The word wears spandex, pasties, a leisure suit studded with blinking lights. It gives off a whiff of Coppertone and dripping Creamsicle, the fake-butter miasma of a movie-house lobby, of karaoke and Jägermeister, Jerry Bruckheimer movies, a Street Fighter machine grunting solipsistically in a corner of an ice-rink arcade. Entertainment trades in cliché and product placement. It engages regions of the brain far from the centers of discernment, critical thinking, ontological speculation. It skirts the black heart of life and drowns life's lambency in a halogen glare. Intelligent people must keep a certain distance from its productions. They must handle the things that entertain them with gloves of irony and postmodern tongs. Entertainment, in short, means junk, and too much junk is bad for you—bad for your heart, your arteries, your mind, your soul.

But maybe these intelligent and serious people, my faithful straw men, are wrong. Maybe the reason for the junkiness of so much of what pretends to entertain us is that we have accepted—indeed, we have helped to articulate—such a narrow, debased concept of entertainment. The brain is an organ of entertainment, sensitive at any depth, and over a wide spectrum. But we have learned to mistrust and despise our human aptitude for being entertained, and in that sense we get the entertainment we deserve.

I'd like to believe that, because I read for entertainment, and I write to entertain. Period. Oh, I could decoct a brew of other, more impressive motivations and explanations. I could uncork some stuff about reader response theory, or the Lacanian parole. I could go on about the storytelling impulse and the need to make sense of experience through story. A spritz of Jung might scent the air. I could adduce Kafka's formula: "A book must be an ice-axe to break the seas frozen inside our soul." I could go down to the café at the local mega-bookstore and take some wise words of Abelard or Koestler about the power of literature off a mug. But in the end—here's my point—it would still all boil down to entertainment, and its suave henchman, pleasure. Because when the axe bites the ice, you feel an answering throb of delight all the way from your hands to your shoulders, and the blade tolls like a bell for miles.

Therefore I would like to propose expanding our def?inition of entertainment to encompass everything pleasurable that arises from the encounter of an attentive mind with a page of literature.

Here is a sample, chosen at random from my career as a reader, of encounters that would be covered under my new def?inition of entertainment: the engagement of the interior ear by the rhythm and pitch of a f?ine prose style; the dawning awareness that giant mutant rat people dwell in the walls of a ruined abbey in England; two hours spent bushwhacking through a densely packed argument about the structures of power as embodied in nineteenth-century prison architecture; the consummation of a great love aboard a lost Amazon riverboat, or in Elizabethan slang; the intricate fractal patterning of motif and metaphor in Nabokov and Neil Gaiman's Sandman; stories of pirates, zeppelins, sinister children; a thousand-word-long sentence comparing homosexuals to the Jews in a page of Proust (vol. 3); a duel to the death with broadswords on the seacoast of ancient Zingara; the outrageousness of whale slaughter or human slaughter in Melville or McCarthy; the outrageousness of Dr. Charles Bovary's clubfoot-correcting device; the outrageousness of outrage in a page of Philip Roth; words written in smoke across the sky of London on a day in June 1923; a momentary gain in one's own sense of shared despair, shared nullity, shared rapture, shared loneliness, shared broken-hearted glee; the recounting of a portentous birth, a disastrous wedding, or a midnight deathwatch on the Neva.

The original sense of the word "entertainment" is a lovely one of mutual support through intertwining, like a pair of trees grown together, interwoven, each sustaining and bearing up the other. It suggests a kind of midair transfer of strength, contact across a void, like the tangling of cable and steel between two lonely bridgeheads. I can't think of a better approximation of the relation between reader and writer. Derived senses of fruitful exchange, of reciprocal sustenance, of welcome offered, of grasp and interrelationship, of a slender span of bilateral attention along which things are given and received, still animate the word in its verb form: we entertain visitors, guests, ideas, prospects, theories, doubts, and grudges.

At some point, inevitably, as generations of hosts entertained generations of guests with banquets and feasts and displays of artif?ice, the idea of pleasure seeped into the pores of the word. And along with pleasure (just as inevitably, I suppose) came disapproval, a sense of hollowness and hangover, the saturnine doubtfulness that attaches to delight and artif?ice and show: to pleasure, that ambiguous gift. It's partly the doubtfulness of pleasure that taints the name of entertainment. Pleasure is unreliable and transient. Pleasure is Lucy with the football. Pleasure is easily synthesized, mass-produced, individually wrapped. Its benef?its do not endure, and so we come to mistrust them, or our taste for them.

Continues...

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Edition details

• Publisher: Harper Perennial
• Publication date: 2009
• ISBN 10: 0061650927
• ISBN 13: 9780061650925
• Binding: Paperback
• Language: English
• Number of pages: 210