Tag Archives: blogging

I Like Big Books and I Cannot Lie

MobyDickIf you haven’t read a big book in a while, I suggest you pick one up soon.

Big books are the warm bubble baths of the book world, but they’re often talked about as if they’re itchy woolen snowsuits instead. Sinking into a big, dense book should be a pleasure, not a headache-inducing nightmare.

What makes a book big? Size, obviously—let’s say (arbitrarily) 600 pages or more—but also, to a lesser extent, complexity. Although Harry Potter and the Deathly Hallows pushes 800 pages (and I loved it dearly), I would hesitate before calling it a big book; it followed too easily the path laid out for it by its six prequels; it tied up too neatly every loose end with an escapist epilogue. But then again, the bigness of big books may lie in the heart of the reader. For me, the really big books are those that intimidate the reader, the ones that feel like a challenge at the start, but a best friend by the finish, the ones that most closely mimic an actual marathon; instead of churning legs over terrain for 26.2 miles, readers of big books sprain their fingers flipping pages and mentally race through page after page to the triumphant end.

As usual, the public reluctance to engage with big books can perhaps be traced back to high school (what problem can’t, really), when a deadline imposed on the reading of a big book like The Grapes of Wrath or The Iliad or Ulysses is a significant threat to getting any other homework done. Students dread large reading assignments, a feeling that usually persists throughout college and beyond.

On the other hand, there are those who see a big book as a challenge to overcome rather than a pleasure. They might read one big book a year, and then talk incessantly about how they read it, leaving out the fact that they haven’t read anything else that year except their Twitter feed. These people may or may not usually be men with scruffy beards who just finished David Foster Wallace’s The Pale King. Avoid conversation with them at all costs.

Here’s a list of some of my personal favorite big books, broken up by genre. What big books would be on your list?

Contemporary Literature
Middlesex by Jeffrey Eugenides
Freedom by Jonathan Franzen

Historical Fiction
Sacajawea by Anna Lee Waldo
The Amazing Adventures of Kavalier & Clay by Michael Chabon
Gone With the Wind by Margaret Mitchell

Classics
Moby-Dick by Herman Melville
East of Eden by John Steinbeck
Middlemarch by George Eliot
Daniel Deronda by George Eliot
The Brothers Karamazov by Fyodor Dostoyevsky
Anna Karenina by Leo Tolstoy
Les Misérables by Victor Hugo

Fantasy
Lord of the Rings by J.R.R. Tolkien
Jonathan Strange and Mr Norrell by Susanna Clarke

These books are all dear to me in their own ways, but they share one thing in common: they contain entire worlds and generation-spanning sagas so richly and completely imagined that they become real, and so real that they become road maps for navigating my own world.

So put a big book in your To Be Read pile–not just because it’s a classic or an award winner, though that’s a good enough reason, too—but because it’s epically, gloriously, luxuriously big. Sink it to it. Let it sweep you away.

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Marie is a writer and editor who lives with her feral cat, and, like most people, prefers dance parties to homework.

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Keeping YouTube celebrity in perspective

TRIGGER WARNING: The following blog post includes discussion of rape, sexual assault, and underage sexual behavior. Please be careful and read at your own discretion.

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Say “YouTube” and what comes to mind for most people are cat videos, grainy home footage of dads getting hit in the crotch with tennis balls and rakes, and comment sections populated by anonymous trolls who are most likely actual Neo-Nazis. What the average Joe doesn’t know, or knows only in passing, is that for nearly two million viewers, many of whom are teenaged girls, the name of the website brings to mind almost subconsciously the word “community,” tacked onto it like a shadow.

The community is comprised, on the one hand, of a group of people who make YouTube videos for a living (“content creators”), and, on the other, of the fans who tune in on a regular basis to keep up with their favorite artists. For these people, YouTube can be a refuge from ordinary life, and a place to make likeminded friends. Most of the time, the community is warm and inviting, and whole videos may go by with nary a racial slur.

In March of 2014, however, the YouTube community was shaken to its core when sexual assault and rape allegations against at least nine high-profile male YouTubers emerged on the blog-hosting site Tumblr. Fans’ reactions to the news typically fell on one of two very different sides of the fence: visceral horror and outrage on behalf of the victims, or a reflexive defense of the beloved YouTubers.

My own response to those defending the rapists and sexual harassers was disgust, and I wrote them off as young, impassioned teenagers who had completely missed the point. Caught up in their own feelings, they were reclassifying the perpetrators as victims in need of protection, instead of empathizing with the young women who experienced sexual assault at the hands of content creators who had age, experience, and celebrity all pulling to their advantage. I didn’t understand how so many responses could be lacking any sense of measured, thoughtful distance from the shocking news.

But then, allegations appeared targeting a YouTuber I followed. Alex Day is a 24-year old white British male, an irreverently funny entrepreneur whose vlogs amplify the comedic element of day-to-day minutiae. He is also, it turns out, an expert emotional manipulator who admitted to coercing young female fans into sexual behavior they had explicitly refused.

Until this past March, I had watched Day’s videos regularly since 2011. When the accusations came to light, I had to actively restrain myself from responding with pity for Day, and redirect my emotions to where I logically knew they belonged: with the victims. Yet I felt a personal sense of betrayal, hurt, anger, and disappointment, including, but going far beyond, a natural empathy and sadness for the young women who were stepping forward.

Why?

Handily enough, YouTuber Anthony D’Angelo uploaded a video in response to the sexual harassment scandal called “The Science and Dangers of YouTube Celebrity” explaining this very phenomenon, which discusses “para-social interaction” as a reason for the knee-jerk desire to defend our favorite celebrities against negative claims. Para-social interaction is a sociology term that can be defined as “one-sided intimacy, at a distance.” Mass media is rife with opportunity for one-sided intimacy to manifest, as it offers viewers at home frequent chances to develop a feeling of community with content creators. The nature of YouTube engenders a seemingly personal connection, blurring the line between performance and reality. YouTubers often vlog from their bedrooms on a weekly basis, and many don’t use scripts. While the intimacy is fictitious, it can feel incredibly realistic.

Over the course of three years of watching his videos, my brain constructed a pattern of fondness for Alex Day, developing something that is, chemically at least, very akin to friendship. I was therefore deeply resistant to the criminal allegations that upset my expected patterns of his behavior. Instead of immediately setting aside my enjoyment of Day’s work and writing him off, I felt both the urge to defend him and a sense of betrayed friendship.

These are false feelings that must be set aside in order to fully support and honor the victims and survivors in the community. As D’Angelo says in his video, the phenomenon of para-social interaction is especially common on YouTube, “which, by its connective and egalitarian nature, puts celebrities closer to fans than ever before.” Such closeness, however, is a fabrication. While we are eagerly watching someone whom our brain has counseled us to recognize as a “friend,” we must always remember that the person on the other side is merely staring into the impassive eye of a camera.

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Marie is a writer and editor who lives with her feral cat, and, like most people, prefers dance parties to homework.

 

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