So take a visit to my Thumbnail Guide to Barcelona Open Mics, Jam Sessions and other Live Music.
So check it out!
So take a visit to my Thumbnail Guide to Barcelona Open Mics, Jam Sessions and other Live Music.
So check it out!
As a reminder: This “Not-Book-Review” is a type of article specific to this blog that the first one of which was my talk about the book of another musician, Neil Young – and his “Waging Heavy Peace”. The idea behind the column is that because it is a blog, and because I believe in Ernest Hemingway’s dictum about writers not criticizing other writers in print as reviewers – “You cannot run with the hare and hunt with the hounds,” he said – but because I love to read good books and talk about them, the idea is that I am not going to place myself on a critical pedestal and dictate what is righteous or not about a book I read. I am not going to recommend it as a piece of literature or a consumer product. I am not going to fulfill the role of the book reviewer whatsoever. This blog is my space, Brad’s world. So what I will do when I feel compelled, will be to write about books I am reading or have read or feel compelled to write about for any other reason – my “Not-Book-Review.” Something people can read, and should read, only as a reflection of how I felt about the book – not a recommendation that they should or should not read it.
PARIS – For various reasons, I did not get to leave the apartment last night until very late in the evening. I decided nevertheless to head over to the closest open mic, La Tireuse, to see if there was a chance to play, even in a flash, last-minute visit.
As it turned out, it was a fairly quiet – yet comfy – night at the Tireuse. I only had the chance to catch the last moment of one performer before I was beckoned to take to the mic myself! This I did with some reluctance, having not even warmed up, tuned my guitar or sung a single time yesterday. As it turned out, the crowd was so warm that I felt egged on to leap into the songs and get out in one piece. It went well, I was told afterwards – of course, I had a little help from Cat Stevens, as I sang two of his songs, and my own “When You’re Gone Away.”
The night ended with Wayne Standley playing on guitar along with Ollie, the MC, playing lead. That was very cool. After that I then learned of two personal projects from these fine musicians, as Wayne gave me a copy of a cowboy novel he wrote, and Ollie told me about a new blog he has just started.
I immediately returned home and looked at the blog, and found something I know I will return to again and again. Ollie has called it “L’Albatros,” and it is a very cool blog that gives thumbnail descriptions and a representative video of obscure or long-forgotten bands in the history of pop music. The ones up there right now range from the Canadian group Bachmann Turner Overdrive, to Jim Croce, Harry Nilsson and Fred Neil. But Ollie clarified to me that a lot of the groups would be well known to me, and to their specific audiences, but less known or completely unknown to the French – the language in which the blog is written. (Gordon Lightfoot and Steely Dan seem good examples of that.) But this looks like a real winner of a blog, and I’ll be returning.
I started reading Wayne’s book this morning, and found a new voice – in the written word, that is, because it sounds very much like the Wayne I know singing….
But as I read this electronic book by a former colleague of mine at the former International Herald Tribune, I began thinking of discussions he and I had before he sold his book about seeking literary agents, and that led me to thinking again about my task this winter, where I’ll be sending out two of my manuscripts, for consideration by agents and publishers (or three manuscripts if you count the French translation of the novel I’ll be sending – (the other book is my open mic memoir)).
I’ve already started doing some research on agents and publishers, and as I read – joyously – this delightful fiction by Tom Rachman, and thought about how it mattered not one iota whether I read it in an electronic book format or in a hardback or paperback, I began thinking all the various thoughts of paper vs. electronic media. And then I settled on this particular aspect of the “debate”:
How is it, that “traditional” book publishers can charge us 8.99 euros or more for an electronic book that costs them absolutely nothing to produce and distribute in billions of copies, when they charge the same amount – in some instances – for the same book in its paper version, which costs them something in paper, printing and distribution, and yet – here’s the real bit that I’m aiming at – a majority of the best publishers and many of the best literary agents STILL require that authors send their manuscripts to them by snail mail post in printed format?!?! (If they accept submissions at all.)
In other words, while they charge 8.99 euros for an electronic copy that costs them nothing to produce (and I don’t want to hear about the editing staff, etc.), and they expect a reader to be just as happy with reading it in electronic format or printed format, they themselves insist that a poor author pay for printer ink – a fortune – paper to print the manuscript – not a fortune, but it still costs something – and then postage – a fortune?!?
I really would like to have an explanation on this strange, dinosaur leftover from another era. Part of me thinks that because the industry is more bombarded than ever before with manuscripts from potential authors, and because it is easier than ever for authors to make submissions of unpolished or hair-brained books, the editors and agents seek a kind of natural selection process on the basis that the more serious writers will take the time to print out and mail a manuscript, rather than shoot one off on a whim via email.
If that is the case, I don't buy it. A great manuscript will rise to the surface of the slush pile eventually, whether it be electronic or printed out, and the crappy electronic submission is a lot easier and less time consuming and polluting to deal with than the crappy printed manuscript. And the excuse that an editor or agent would really like to sit down in a chair and read a paper version of the novel rather than read an electronic version is really no longer valid, is it? When they are selling us "air" for 8.99 euros or much more….
By the way, it was taking me forever to get around to going to a bookstore to buy a paper copy of Rachman’s novel (or any other English book in Paris), which I had been hearing about for so long from friends and strangers. And I had no real excuse (except Paris), especially since I felt it practically an obligation for me to read a former colleague’s novel, especially one all about the newspaper world, the expat newspaper world that we both worked in. So it was with my new iPad mini in hand that I decided to rectify that situation, and I’m just loving the book!Rachman has a real way with language, and the characters and situations are extremely memorable. The stories really flow. It is written with a simplicity that is hard to achieve. (As I think Pete Seeger once said, perhaps comparing Dylan and Hank Williams: “Anyone can be complicated, it takes a genius to be simple.” (Although Dylan is a complicated genius in my opinion, and in the opinion of most.)) Of course, I’m not finished the book yet, so perhaps I’ll lose interest…but I doubt it. And if I do, well, it only cost 8.99 after all, and I won’t have to put it on my shelf to collect dust. Of course, I might have to eliminate it from many more places, as it has been migrating from my iPad to my iPhone and maybe soon to my MacBook Pro, if they let me….
Enough rambling rant! If anyone has an answer to my question about how publishers and agents can be committed to electronic books but not electronic submissions, please let me know!
PARIS – Another day of no music at the open mics for me as I work on my books and documentary film intensively this August break. Somehow, I was reminded of a story I wrote and published in the newspaper where I worked in February 1996. The story could go almost go into my rejected stories category, as one of the top editors of the time tried to stop the opinion page editor from publishing the story, saying that it was old news and that everyone in the world knew this stuff anyway. The story was about smileys on the Internet, and the premise of the story was – humorously said – that the latest high technology of the day – the Internet – had brought back letter writing, and above all, had sent the world back into prehistoric times as we suddenly reverted to using a modern form of hieroglyphics – the smiley.
My op-ed page editor who wanted to run the story defended the writing approach and style, and the story appeared. And again, while the all-knowing other, critical, editor said it was useless information that we all knew, the story was good enough to attract the attention of the Repubblica, one of Italy’s major newspapers, and within days of its appearance in my paper, it appeared in the Repubblica, on its op-ed page, translated into Italian. I’m putting that Italian translation on this site, along with the original English version of my Internet smileys story from 1996, which was not exactly years into the phenomenon in the popular mind. So here, too, is my first bit of Italian on this site….
This time, I have selected a story about the world’s most prolific authors of books that could go into the blog stories as opposed to posts category, but it could also fit well into the Brad’s Rejected Stories area, since it was rejected at least 12 times, including from my own newspaper where I worked, before it got picked up and published at the Los Angeles Times in their Sunday Book Review as the lead essay at the bottom of the page.
It was an over-the-transom submission, I did not even have an editor’s name to address it to. Sometimes these things happen, if you get the right story to the right person at the right time. In fact, the story was spotted by the fill-in book editor of the time, Kenneth Turan, who that same year, 1991, became the Los Angeles Times’ film critic, a job he still does today. In 1993 he became the director for the Los Angeles Times Book Prizes.
I wrote this story about the world’s most prolific book writers by querying all the writers I could find who had written and published hundreds of books – like Isaac Asimov and Barbara Cartland. Most of those I queried kindly responded. Needless to say, I was glad not to let them down when I came through with publication after all the rejections….
So as part of my blog articles as opposed to posts section, I have decided that the next installment is the Ancient Interview with Jean-Bernard Pouy, following the Ancient Interview With Maurice G. Dantec. In fact, Pouy is not just a crime writer – today he is still around, at 67 – but he was also a key element of the new wave of French crime writers in the early to mid-1990s as he helped spawn the careers of both Dantec, and another of the major writers, Tonino Benacquista, both of whom were former high school students of Pouy’s in a Paris suburb….
If you want to make any sense of that, read the old ancient interview with Pouy….