Douglas Copeland

Ultimately, Douglas Copeland's seminal book Generation X lives up to it's hype. It popularized the terms "McJob" and "Generation X" among others and broke ground with it's powerful biting and ironic tone which became definitional for a generation of new writers. It's influence is blatant in works by Irvine Welsh and Chuck Palahniuk.

Whether he likes it or not, that pedigree makes Copeland godfather to the Fight Club franchise... and all the works it influenced as well. But far from a hipster himself, Copeland was a genuine craftsman of the English language.

"You see, when  you're middle class, you have to live with the fact that history will ignore you. You have to live with the fact that history can never champion your causes and history will never feel sorry for you. It is the price that is paid for day-to-day comfort and silence. And because of this price, all happinesses are sterile all sadnesses go unpitied. And any small moments of intense, flaring beauty such as this morning's will be utterly forgotten, dissolved by time like a super-8 film left out in the rain, without sound, and quickly replaced by thousands of silently growing trees."

A Stricken Field

Typically Martha Gellhorn gets second billing to her ex-husband Ernest Hemingway. I was pleased that this Virago Modern Classics edition didn't even mention him in her bio. Instead the focused on her record as a war reporter. In that category she was a trail-blazer. She covered five wars: Spain, Finland, China, WWII and Java. If you're not familiar with all those Google it.

"A train whistle blew and a little procession of people straggled and stumbled through the crowd, herded by soldiers. The soldiers were not shoving them—but they were keeping them moving. All the faces looked stupid with exhaustion; the eyes searching around the room, for nothing, were empty even of questions or of fear. They were like old bundles of gray cloth. They had no tickets; the soldiers herded them down a platform and they were lost in the smoke, and the crowd closed behind them."

But it's a bit vexing that her style is so similar to Hemingway. They both embraced that spare, and understated style. The passage above is one of a few where she ran long enough to use a semicolon. But while they may have influenced each other (a topic neither author's biographers want to entertain) it is just as likely they were equally influenced by their mutual experience as news-writers. regardless she remains under-appreciated.

A Canticle for Leibowitz

Walter M. Miller was science fiction writer. The genre remains the last frontier of hacks, frauds and innovators and Miller was one of the finest. Before A Canticle for Leibowitz, he had published only short stories, and it was the only novel he published in his own lifetime. So you can see that style built into the often dense language burning up all that momentum with the feeling it will be spent in 10 or 15 pages.

"They made a garden of pleasure, and became progressively more miserable with it as it grew in richness and power and beauty; for then, perhaps, if was easier for them to see that something was missing in the garden, some tree or shrub that would not grow. When the world was in darkness and wretchedness it could believe in perfection, and yearn for it."

He originally wrote it as three novelettes, and then seeing the theme, re-wrote and combined them into one book with three sections. The book is loaded with religious metaphors and Latinate phrases which add gravitas to certain sections, but also dignify some of the unavoidable gothic overtones that come with post-apocalyptic literature.

There are reams of analysis you can read on the text if you wish to pursue it, or just read it.  Either way I see no need to delve into that redundantly here.

Quintes

In 1962, The Selves of Quinte was dismissed as an "experimental novel", it's protagonist as a "paranoid-schizophrenic" but author Marcel Moreau went on to have a long writing career. He published his 40th book in 1998 and he's still among us. Sadly many of his works have never been translated into English.

The English edition was published by George Braziller in 1965. The text is excruciatingly dense, alternating between lengthly internal dialogue and brief external dialogues. But the setting is Brussels in the Jazz age and writers, prostitutes and poets move from club to club, from salon to bar. And when they turn on the radio that wailing "dissonant" sound emanates. I find it under-rated as a document of that beatnik era. When viewed in that light, Quintes' philosophical restlessness finds a context.

"In a hollow voice she told him fantastic stories which were never quite about love nor quite about death, an astounding mixture of confused, flashing anecdotes from which the only constant that emerged was disgust with living."

His contemporary comparisons to Kafka were misleading. His character was paranoid, but Moreau was not. Time magazine panned it as "incoherent." But in 1962 his writing was praised by Raymond Queneau, and Simone de Beauvoir. But as an  existentialist philosopher it makes sense that she'd understand. She understood enough to publish it in serial form.

War & War & Lazlo Krasznahorkai

As a writer, Lazlo Krasznahorkai gets described as postmodern and dystopian. For me that's a plus. His use of language definitely departs from tradition. He's prone to extremely long sentences, meandering sentences, sentences so long they become self-aware and break into meta-text and taunt you. That's not hyperbole. He posted the website www.warandwar.com 5 years before his book was even available in English. And it makes no sense until you've read the first 250 pages of his book. Some of his sentences are epic on their own, beyond the confines of the book.  His break from traditional form is as iconoclastic as The Sound and the Fury but he's Hungarian.. so in the U.S. he remains obscure. I only know his works through translations.

"The whole ceiling was packed with fluorescent tubes, neon to neon, at least a hundred tubes from right to left, from left to right, as densely and hauntingly packed as the graves in a military cemetery without an inch of bare space, the whole fluorescent, every tube burning and not one gone out, not one dark, so that the whole buffet glowed, as did the man standing at the bar with his back to it all, a cigarette in his hand, staring fixedly at the edge of the bar and glowing beside him, his ditch-gray eyes fixed on the man, facing him, with these broken, painfully slow words proceeding from his mouth..."

The Jungle

 Everyone literate knows something about Upton Sinclairs' The Jungle. Maybe it's the tainted meat, or the poor working conditions, immigration or maybe even the socialism.  the book was first printed as a newspaper serial in the Appeal to Reason starting in February of 1905.  The book is in the public domain. You can download a copy at Gutenberg.org here, or as scans of the original newspaper serial courtesy of the NYU library here. The book has been continually in print for more than a century. Seesharp press recently printed a complete edition of the serial version. More here. (This got a bit of mixed press.) But the editions are substantially different and if your inner Lit professor is interested, it's probably worthwhile.

But in all of this historical hullabaloo it's been forgotten that Upton Sinclair was actually quite a good writer. I was reminded of this while flipping thorough a copy of the 1986 Penguin edition with yellow cracked pages.Allow me to quote:

"His notes are never true, and his fiddle buzzes on the low ones and squeaks and scratches on the high; but these things they heed no more than they heed the dirt and noise and squalor about them— it is out of this material that they have to build their lives, with it they have to utter their souls. And this is their utterance; merry and boisterous, or mournful and wailing, or passionate and rebellious, this is music is their music, music of home. It stretches out it's arms to them, they have only to give themselves up."