The Quality of Life Report

In the past couple of years, I have read several novels about moving to New York or living in New York. Now, one about leaving New York. The Quality of Life Report looks at first like a trifle. I bought it in Michigan with the thought of reading on my grandma's pool deck, or on the bus ride home. My first observation was that it was a well-written trifle.

"When my friends and I were not discussing the lack of available men, we were usually discussing moving out of New York," Meghan Daum, the author, writes. "When somebody came home from an unusual location -- a wedding in Nova Scotia or a snorkeling trip in Australia -- and spent two weeks obsessing about moving into a yurt on the Bay of Fundy, we called it an Alternative Lifestyle Alert. The guiding principle of the Alternative Lifestyle Alert was that it was never acted on. Until now." Alternative Lifestyle Alert! That sounds like something my friends back in Buffalo would have said!, I thought, and kept on with what I still thought was a beach read.

For us professional-type people who did not grow up in or near New York City, the choice is roughly something like this: on the one hand, The Outside offers affordable housing, the proximity of friends and family, comfort and convenience. On the other hand, New York offers the opportunity to do and accomplish things you otherwise could not, the idea that even in this day and age, you can just sell your things, pack up what's left, and go really make something of yourself. The question is not only where do you want to live, but who do you want to be.

Lucinda, the main character in The Quality of Life Report, describes it as a conflict between substance and style. Leaving New York, she decides, will make her become a person of substance. Slowly she realizes that when you leave your stupid, fake problems (childish men, bad fashion, too-small apartments) behind, what you find out in the real world are real problems.

If I say more, I'll give too much away. Friends who have been torn between the big city, the small city and home sweet home, please read this. And then discuss it with me.

The Big Short

If the first Wall Street movie is to Liar's Poker as the second Wall Street movie is to The Big Short, then Michael Lewis has outdone Oliver Stone by far. In both cases, the original was better, but in this case, the second volume still tells a new great story, updated for and relevant to a couple decades later.

The Big Short is a character-driven story of highly complex financial transactions and a corrupt system that works for no one but the handful of people who are making tens, sometimes hundreds, of millions of dollars off of it. So was Liar's Poker. The difference is that Liar's Poker was an autobiographical story. Lewis himself had recently left a lucrative Wall Street job where he made, he felt, way more money than he was worth doing something that had no social purpose. He wanted to chronicle a time of irrational excess that he thought wouldn't last, and he wrote about it in a way that was funny and a little self deprecating here and there. Twenty years later he reports, not only was I wrong that it wouldn't last, things got worse than ever, and the whole economy nearly went down with them.

The choice in The Big Short to focus largely on people who saw subprime lending and mortgage-backed securities for what they were, and to tell their story, was a great one. We get to see how these people had unique perspectives and personalities that led them to believe that although everyone said they were wrong, they weren't wrong. Like so many of the books I've written about here, it made me think of Outliers, by Malcolm Gladwell. In that book, Gladwell shows how the people who are the best at what they do got that way by not just intelligence and hard work (lots of people are smart. lots of people work hard. But there's only one Steve Jobs.) but also by unique combinations of circumstances. Steve Eisman, one of the main characters in The Big Short, was the child of investment bankers who became a corporate lawyer, hated it, then had his parents get him a job at the one investment banking firm that still tolerated renegades. If he hadn't learned about the field from his parents, and they hadn't gotten him a job at what was probably the only firm where he could thrive, he would not have become the man who foresaw the meltdown, no matter how brilliant he was. That's not the point of the story -- the point of the story is that everything sucks and we're all screwed, I'm pretty sure -- but it's an interesting point nonetheless.

Chronic City

One review of this book describes the main character, Chase Insteadman, and his astronaut fiancee, Janice Trumbull, as both being "adrift." That's the best way to put it, I think. Jonathan Lethem, the author, grew up in pre-gentrification Boerum Hill, Brooklyn, and has written at least two novels I know of about those hard-luck streets. Here he's taking on a very different type of subject matter: Manhattanites who have sold out, come unglued, or, as someone else described it, gone adrift.

Chronic City isn't a self-involved meditation on privilege and the lack of meaning in modern life, though it can seem so at first. It's about how modern life in Manhattan, and maybe the rest of the U.S., is driven by nothing more than a desire to be entertained. In Insteadman's Manhattan, The New York Times publishes a "war free" edition filled with updates on a tiger that's said to have escaped from the Central Park Zoo, and dispatches from space, where a tragic group of astronauts are floating forever with no way to get home.

Neither I nor Lethem is the first person to reflect on how New York City, center of so much that happens in the world, can often seem like nothing more than an amusement park for the insanely wealthy, shockingly idle, and impossibly privileged. To say anything more would be to give away events that happen more than 200 pages in.

Lists

A few days ago, a New York Times blog published this post, about Times' writers favorite novels. A former journalist myself, I shouldn't be surprised there's so much overlap between their lists and mine. Mine, if it existed. How does one pick five favorite novels? If I could make a top-ten or top-twenty list, though, it would include The Amazing Adventures of Kavalier & Clay, A Visit From The Goon Squad, Infinite Jest, and maybe Franny and Zooey and Anna Karenina. I prefer On Beauty to White Teeth and A Widow For One Year to Owen Meany, which I haven't read and doubt I ever will due to the eye strain-inducing way the dialogue was written.

http://6thfloor.blogs.nytimes.com/2011/07/07/as-if-you-dont-have-enough-to-read-fiction-edition/?ref=books

Reading this list was like flipping through an old photo album. I remembered a college professor harrumphing about the baseball team's loud get-pysched music in the class where For Whom The Bell Tolls (which I didn't care for) was discussed. White Noise is also a college memory; I first read it in an honors seminar for a philosophy class. I can see how someone would think it was overrated, but I find myself thinking about it and referring to it 11 or 12 years later all the same. I can't separate Remains of the Day (god I love that book so much) from the memory of the last summer I spent in Ithaca, in a cramped and devestatingly charming studio apartment without proper window screens, and with no money whatsoever, working an unpaid internship at City Hall and a night job at the local paper. Graham Greene -- nerd camp, summer, 1995, Alanis Morisette and Green Day and not being old enough to drive and hating it. Invisible Man -- the shoebox of books my uncle salvaged from the end of a library sale and mailed to me from Michigan. That's how I got The Awakening too, now that I think of it. Anything by Henry James reminds me of the time my best friend and I both tried to check Washington Square out of the library at the same time, just a few months into knowing each other, 14 years ago.

The Amazing Adventures of Kavalier & Clay is the book of moving to New York.

A Visit From the Goon Squad is the book of being here, no longer a recent arrival.

Sports Night

There are weeks when I have too much to think about to do a lot of recreational reading. When I have time during those weeks, I like to lie around watching The West Wing or 30 Rock and petting the cat.

This week the show of choice is Sports Night, a largely forgotten early Aaron Sorkin gem that takes place where I spent my formative years: the newsroom. The year was 1998. Bill Clinton was still the president. The World Trade Center (featured in location shots in every episode) was still standing. "Journalism" was both a reasonably practical thing to major in and something one could do for a career. Irony existed, but it was okay to be without it too. Caring about things was permitted and sometimes even encouraged. People were just starting to use email and cell phones for practical day-to-day communication. The world was full of possibility and un-dashed hopes. Or so I remember it ...

Though on the other hand, Netflix instawatch wasn't invented yet back then. You had to go to the "store" to rent "videos." Hard to picture, isn't it?

Goon Squad, final thoughts

At my grandfather's wake, my sister said to me, "I keep looking at Grandma and thinking, in 25 years, Mom will be that old."

"And I'll be as old as Mom," I said.

That, in a nutshell, is what A Visit From the Goon Squad is about -- those moments when you feel the years that have gone by.

Goon Squad is, among many things, a triumph for feminism. I know there are many reasons women authors are rarely behind the next East of Eden, the next Infinite Jest, the next The Corrections. The first is outright discrimination. But I think a more significant reason is the way women are socialized from birth. I have been to so many panel discussions in New York where women panelists came off poorly because they were not only obviously nervous, but, worse, constantly apologizing for their work and making self-deprecating jokes. I do it. I don't mean to be accusatory. Women learn to provide emotional support and pick up after others. Men learn not to sweat the small stuff and to focus on big ideas.

I know all of this. And yet, there must have been a part of me that wondered whether women really were capable of doing everything men could. Otherwise, when I read Goon Squad, I would not have known for the first time that women can write novels that are 100% as equally impressive as those written by men. I haven't read Jennifer Egan's other books, but if they are of similar quality, I wouldn't say she's as good as David Foster Wallace or Jonathan Franzen. I would say she's better.

You know how even if you don't agree with everything Barack Obama has done since he was elected (or ever I guess), there's a quality about him that seems too perfect to be real? You'll never catch him getting mixed up in a sex scandal, or choking on a pretzel, or puking on the prime minister of Japan. And do you know why that is? Because if he did things like that, he wouldn't have made it anywhere close to this far. Black people don't have as much leeway to fuck up, period, and so if a black man was going to be elected president, it's not because he's "as good" as white people, it's because he's twice as good at what he does. I think Jennifer Egan is the Barack Obama of Great American Novelists. Her work has all the sweep and ambition of the other novelists I was talking about, but with so much less ego and so much more discipline. Someone please, read the book and tell me if you agree.

Lush Life, by Richard Price

Richard Price has written episodes of The Wire. I am one of those people who feel okay about saying The Wire is the greatest television show ever made, even though I haven't, you know, seen every television show ever made.

So I start reading Lush Life, which I salvaged from a friend's stoop sale box, and it's just not my speed at all. I can see the similarities to The Wire -- the characters from every aspect of life in a high-crime urban area are portrayed, lots of "gritty," lots of "real," plot looks like it's going to be pretty complicated and a little on the confusing side. Watching The Wire, I wasn't too concerned about figuring out who was who and who did what to who seven episodes ago and what that was about and etc. I just sort of let it unfold and figured I would figure it out sooner or later. I guess reading a book is different; I feel like if I don't keep track of the characters and the plot, I'm going to have absolutely no idea what's going on. And I guess I don't like the book enough to not mind the possibility of going back and reading it all over again.

Also in Lush Life, I feel like I'm supposed to be trying to figure out who the killer was. In The Wire, you usually know who the killer is; you're just watching all the stuff that happens around that happen, and maybe if you're the sort of person who likes to try to guess what will happen next, trying to figure out which bodies are going to drop next.

The other possibility is that in Lush Life I'm supposed to know who the killer is and I just didn't get what the hell was going on.

Further, there's an indescribable quality about Lush Life where the author seems to think he's being really clever knowing all these little things about life on the Lower East Side and all the different disenfranchised groups of people who live there. Like some 24-year-old suburban kid who feels all in the know when he or she is like oh, don't go down that block, crackheads hang out down there. Except I'm not saying he's not knowledgable. So far as I can tell, he is. The tone just really annoys me. The Wire seems to be saying: there's a tragedy unfolding here that no one knows how to stop. Where Lush Life is saying: look how street I am.

I haven't decided whether I'm really reading this book or not. I'm 80 pages in.