The Diary of Parkus Grammaticus, Sept. 14, 2011

I. Last night I had the honor of presenting the Ambassador Book Award for American Studies to Rebecca Skloot, for her book The Immortal Life of Henrietta Lacks. Skloot was sunable to attend, but it was a fun and interesting evening. Alan Brinkley won the nonfiction award for The Publisher, his biography of Henry Luce; Christian Wiman picked up the poetry prize for Every Riven Thing; Janet Malcolm received a lifetime achievement award; and—arriving at the last possible minute!—Deborah Eisenberg collected the Amby (we don't actually call them that) for fiction, for her Collected Stories. Tony Judt's widow, Jennifer Homans, gave an incredibly moving speech in accepting the posthumous award (for a "book of special distinction") given to The Memory Chalet.

English-Speaking Union 2011 Ambassador Book Award winners with committee members:

(l to r) Adam Kirsch, Ambassador Book Awards Committee Chair; Jennifer Homans accepting on behalf of Tony Judt, for The Memory Chalet(The Penguin Press); Molly Stern of Crown Publishing accepting on behalf of Rebecca Skloot for The Immortal Life of Henrietta Lacks (Crown); Alan Brinkley for The Publisher: Henry Luce and His American Century (Alfred A. Knopf); Deborah Eisenberg for Collected Stories of Deborah Eisenberg (Picador); Committee member Benjamin Taylor; Lifetime Achievement Award winner Janet Malcolm; Committee members Ed Park and Maureen Howard.

II. Afterward I skedaddled downtown to KGB, where I managed to slip into a very crowded room—what a turnout! Thanks to Karolina and Max for running this baby, and to (F.S.) Rebecca Taylor, Justin Taylor (no relation), and Rozalia Jovanovic for reading. Sadly I missed most of Rebecca's reading, but the end was tantalizing: footage from one of the no-budget horror flicks that she starred in (as recounted in her Believer piece, "Virginia Mountain Scream Queen"). (Anyone shoot video of RT?) Justin read a wonderful little memoir about (among other things) once being Tao Lin's roommate. And Rozi read her music issue feature on the band Salem, to a smoke machine and a series of enigmatic/spooky/funny slides. So great to see so many people having fun.

Great white way

I. I bought The Atlantic yesterday (since it features two pieces by Dzyds)—I realize I like reading while eating, so this is much better than reading it online (no crumbs in the keyboard). (In a magazine-buying frenzy, I also picked up the new Boston Review, for an excellent appreciation of Thomas Disch by John Crowley, and other good-seeming stuff...even though of course BR is online, too...I did a lot of reading and eating yesterday.)(You should always buy The Believer; have you read the Theo Schell-Lambert piece yet???? You need to read it today. And you cannot read it online!) This bit in Hua's excellent piece, "The End of White America?"...

For [Stuff White People Like creator Christian] Lander, whiteness has become a vacuum. The “white identity” he limns on his blog is predicated on the quest for authenticity—usually other people’s authenticity. “As a white person, you’re just desperate to find something else to grab onto. You’re jealous! Pretty much every white person I grew up with wished they’d grown up in, you know, an ethnic home that gave them a second language. White culture is Family Ties and Led Zeppelin and Guns N’ Roses—like, this is white culture. This is all we have.”

II. ...reminded me of this amazing rant:

—Why are you quoting John O'Hara to me at eight o'clock in the morning? said Isidor. —Well, there is a point, said MacK, I was looking at it last night. He's part of this White Culture which I'm just completely at the end of my—I'm flabbergasted and unable to comprehend any longer why and how anyone can continue to defend it, celebrate it, reinvent it—what does this great white culture, this white civilization, which all the idiots want to cherish, to keep pristine from the blacks and the Japanese and the Europeans and the gays and the Jews and the women—of what does it consist? I mean, let's really think—John O'Hara? Pearl Jam? Lawrence Welk? Elementary school book and Bible watercolor depictions of the past? CBS? —Not leaving out your great employer, said Isidor.
—The Carpenters, said MacK, Fenimore Cooper, John Grisham? Red Skelton? Hallmark? Microsoft? Mobil? Bill Clinton? Jane Fonda, Walt Disney, American Gladiators? Pat Robertson, Gene Scott? John Willie? Loni Anderson? Jaclyn Smith? The AFL? I'm asking you, man, said MacK, I mean I'm asking all of the religionists and cross-burners and anti-abortionists and professional athletes and cheerleaders and militiamen prancing through the woods in camo, waving Bowie knives and their third grade spelling, I'm asking the gymnastic child-abuse coaches—this is what you've got? THIS?

—Todd McEwen, Who Sleeps With Katz

III. ...and also this:

The Harvester is such a nutty book that by the time you come to this passage it seems like just another of its forays into the crackpottery of its period. According to her biographer, Judith Reick Long, Gene Stratton-Porter never revised or cut; her novels—like the Harvester's hysterical sermon—just came pouring out of her. But racial theories were no passing fancy with her. They became the central theme of a noxious novel called Her Father's Daughter, written in 1921, after she had moved to Los Angeles and enthusiastically embraced the hatred for Chinese and Japanese immigrants by which early-twentieth-century California was seized. Its seventeen-year-old heroine, Linda Strong, talks like this:

The white man has dominated by his colour so far in the history of the world, but it is written in the Books that when the men of colour acquire our culture and combine it with their own methods of living and rate of production, they are going to bring forth greater numbers, better equipped for the battle of life, than we are. When they have got our last secret, constructive or scientific, they will take it, and living in a way that we would not, reproducing in numbers we don't, they will beat us at any game we start, if we don't take warning while we are in the ascendancy, and keep there.

[...]

The plot of Her Father's Daughter revolves around a Japanese A-student in a Los Angeles high school, named Oka Sayye, who is actually a forty-year-old man planted there by the Japanese government for God knows what reason, but who is clearly such a threat to the white world that in the end he has to be remorselessly pushed off a cliff by the heroine's Irish housekeeper. I'm not kidding. —Janet Malcolm, "Capitalist Pastorale," New York Review of Books