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joelkarpowitz's review against another edition
4.0
Like a map to hidden treasure, Chabon's book opens doors to his favorite obsessions: comics, Cormac McCarthy, mythology, etc. if you share those interests (which I do) it's a ton of fun. If you don't, at least you still have Chabon's dense and allusive writing to enjoy.
kellymarcella's review against another edition
2.0
For me, this was a couple of really good essays and while I think this is a good collection, I couldn't connect with some given my lack of understanding of the references.
rocketiza's review
3.0
I really like a lot of chabon's early fiction but he is really hit or miss for me in his essays which I often times I find him to be a bit a bore, even when I like the ideas in the essay. Ending up skipping several in this book
ericbuscemi's review against another edition
3.0
Chabon waxes poetic on many topics, including -- but not limited to -- the short story, the edges of maps as places of wonder and exploration, Sherlock Holmes, Loki, the [b:His Dark Materials|18116|His Dark Materials|Philip Pullman|http://photo.goodreads.com/books/1333578469s/18116.jpg|1943518] trilogy, comic books, [b:American Flagg!, Volume 1|3248168|American Flagg!, Volume 1|Howard Chaykin|http://photo.goodreads.com/books/1327992370s/3248168.jpg|3283087], [b:The Road|6288|The Road|Cormac McCarthy|http://photo.goodreads.com/books/1320606344s/6288.jpg|3355573], and ghost stories. The main theme of most of the essays revolves around the concept of the "borderland" between genre fiction and literary fiction, a topic which Lev Grossman recently touched upon here.
So much so did I appreciate Chabon's point-of-view that I sought out Howard Chaykin's [b:American Flagg!, Volume 1|3248168|American Flagg!, Volume 1|Howard Chaykin|http://photo.goodreads.com/books/1327992370s/3248168.jpg|3283087] and M.R. James' [b:Oh, Whistle, and I'll Come to You, My Lad|6322517|Oh, Whistle, and I'll Come to You, My Lad|M. R. James|http://photo.goodreads.com/books/1266637922s/6322517.jpg|4093328].
My only issue with Chabon is that his writing is occasionally obtuse, using unnecessarily complex language where simpler terms will do. For example, was the word colophon really necessary in the following sentence?
So much so did I appreciate Chabon's point-of-view that I sought out Howard Chaykin's [b:American Flagg!, Volume 1|3248168|American Flagg!, Volume 1|Howard Chaykin|http://photo.goodreads.com/books/1327992370s/3248168.jpg|3283087] and M.R. James' [b:Oh, Whistle, and I'll Come to You, My Lad|6322517|Oh, Whistle, and I'll Come to You, My Lad|M. R. James|http://photo.goodreads.com/books/1266637922s/6322517.jpg|4093328].
My only issue with Chabon is that his writing is occasionally obtuse, using unnecessarily complex language where simpler terms will do. For example, was the word colophon really necessary in the following sentence?
Instead travel proceeds on foot, by boat, or by that colophon of alternate-world fiction ... the grand zeppelin liner.
lindsayharmon's review against another edition
3.0
Another 3.5. This was somewhat uneven, as most collections are. I got a little impatient with the literary criticism-type essays, but I really enjoyed the ones where Chabon talked about this writing process.
sbelasco40's review against another edition
4.0
I have a complicated relationship with Michael Chabon. I am constantly being told that I should like him, because he is Jewish, and a lover of genre fiction, and a Pulitzer-prize winner, and funny, but I have never, ever been able to finish one of his novels. I ADORE the movie WONDER BOYS, which is based on his novel, and especially love the part where one of the professor's students tells him something along the lines of, "You're always telling us that writing is about making choices. This book - it's like you didn't make any choices." Ironically, that is what annoys me about Michael Chabon - he doesn't seem to make choices, he just includes EVERYTHING. And sometimes this makes me want to go to sleep, or possibly throw his book across the room.
As an essayist, however, he's more controlled, and I enjoyed this book quite a lot, with the exception of a few of the essays that got a bit too smug and wordy for my taste. Things that stick out to me - the essay on Sherlock Holmes and fan fiction; the essay on THE ROAD by Cormac McCarthy, which may have been my favorite even though I have no desire to read that book ever; and the last few essays in the book on being Jewish and writing about being Jewish, especially the one about Yiddish. I found myself nodding along to many of the observations he made, and I love that he consistently stands for the mingling of genres and the elimination of so-called "literary fiction" as some kind of rarefied, plot-less entity in love with itself. I do think he's a bit too smug, a bit too in love with his own ability to manipulate words, but he also says some very smart things. Maybe I'll give KAVALIER & CLAY another go.
As an essayist, however, he's more controlled, and I enjoyed this book quite a lot, with the exception of a few of the essays that got a bit too smug and wordy for my taste. Things that stick out to me - the essay on Sherlock Holmes and fan fiction; the essay on THE ROAD by Cormac McCarthy, which may have been my favorite even though I have no desire to read that book ever; and the last few essays in the book on being Jewish and writing about being Jewish, especially the one about Yiddish. I found myself nodding along to many of the observations he made, and I love that he consistently stands for the mingling of genres and the elimination of so-called "literary fiction" as some kind of rarefied, plot-less entity in love with itself. I do think he's a bit too smug, a bit too in love with his own ability to manipulate words, but he also says some very smart things. Maybe I'll give KAVALIER & CLAY another go.
nssutton's review against another edition
2.0
this is what happens when you judge a book by its cover. its a fantastic cover. so pretty, in fact, that i didn't think about what would be inside - not a chabon piece of fiction, but a collection of pieces mostly about other people's pieces of fiction, most of which i myself have already read.
not interested. although, i did find it particuarly hilarious there was a piece on phillip roth's goodbye colombus, which is next on my list!
not interested. although, i did find it particuarly hilarious there was a piece on phillip roth's goodbye colombus, which is next on my list!
gjmaupin's review against another edition
5.0
Chabon! Non-fiction! Essays! Greg happy.
Terrific stuff. Read this.
And on a note of pure material yumminess, get this one in hardback for the greatest dustcover in history.
Terrific stuff. Read this.
And on a note of pure material yumminess, get this one in hardback for the greatest dustcover in history.
dfmjr's review against another edition
4.0
This first collection on non-fiction by Michael Chabon has a two-part feel: part defense and desire of “genre” fiction and part memoir of the influence of this and his Jewish heritage.
The non-fiction essays are all republished, and in some cases heavily rewritten, from prior magazines, journals, etc. As a result there are repeated themes within; his defense and love of what has now been called “genre fiction”, and the works that he is influenced by and defends.
I admittedly am of the converted to the thinking that he sells of genre fiction vs literary fiction is a lot of marketing and egotistic hu-ha. As a result, the early part of the book’s essays have a lot of me saying “YES” and “If only everyone thought like that!”. In this, I admit a bias. I am also a fan of Chabon, so as a result am predisposed to like what he does.
There are some who dislike these, and those are the readers (marketers?) that like the genre-fictionization of literature, or even the sub-genre-fictionization of it. When did Science Fiction become a sub-genre? These categories make them feel like they are ok with a choice that is something already. It also allows the overwhelmed serf of Borders and Noble to find “book to recommend”. I find myself on the other side of the fence. I like books. And the category it fits in does not really matter. I want to read things that entertain and I find pleasure in. Maybe a challenge that is pleasurable or it is a scathing satire or perhaps a completely made-up everything. Whatever it is, I want to define it on my terms. I get that genres help us find like books, but they also put in the ghetto many fine works. These themes are all strongly championed in the first half of this book. He discussed how some “genre” authors get “creditability” and find their works transformed from mass-market paperbacks with block letters and radical art into tradepaper backs with new sketches and minimal design and classy fonts (for example, look at the recent P.S. editions of Neil Gaiman’s works).
The second half of the book is much more about his writing and how these influences played into his life along with the trappings of his life at the time. Not necessarily a comment on craft or the process but more how he has developed as a writer looking at his youth, his life and his heritage as a Jew. The time spent on the last, at times in the essays, seems out of place. I think I would have digested those a bit better if the jump to the Jewish heritage part had had something transitional. I think reading all of these together created that lack of transition, as prior mentioned; they were published independent of one another or in the case of the last, was a touring talk given in 2003-04 with an 07 post-script.
Taking or leaving the content and what side you fall on the “definition of literature”, his writing is on fire. His passion creates a different voice than his fiction. He is writing for himself or a cause if you will. With this, his lists and poetic rhythms come out in time conversationally and others slightly rambling but always in a superbly crafted way. Some of the essays are worth reading, and can be outside of the whole, especially those on comics and young adult literature. Others are more worth while if you are a fan of his work, as they do reference the work and would contain the infamous “SPOILER ALERTS” of internet fans.
Side note: the hardback comes in one cool dust jacket that is 3 layers; each unfolds revealing a depth of landscape and a bunch of mythological and fantasy creature in a cool pen and ink drawing.
The non-fiction essays are all republished, and in some cases heavily rewritten, from prior magazines, journals, etc. As a result there are repeated themes within; his defense and love of what has now been called “genre fiction”, and the works that he is influenced by and defends.
I admittedly am of the converted to the thinking that he sells of genre fiction vs literary fiction is a lot of marketing and egotistic hu-ha. As a result, the early part of the book’s essays have a lot of me saying “YES” and “If only everyone thought like that!”. In this, I admit a bias. I am also a fan of Chabon, so as a result am predisposed to like what he does.
There are some who dislike these, and those are the readers (marketers?) that like the genre-fictionization of literature, or even the sub-genre-fictionization of it. When did Science Fiction become a sub-genre? These categories make them feel like they are ok with a choice that is something already. It also allows the overwhelmed serf of Borders and Noble to find “book to recommend”. I find myself on the other side of the fence. I like books. And the category it fits in does not really matter. I want to read things that entertain and I find pleasure in. Maybe a challenge that is pleasurable or it is a scathing satire or perhaps a completely made-up everything. Whatever it is, I want to define it on my terms. I get that genres help us find like books, but they also put in the ghetto many fine works. These themes are all strongly championed in the first half of this book. He discussed how some “genre” authors get “creditability” and find their works transformed from mass-market paperbacks with block letters and radical art into tradepaper backs with new sketches and minimal design and classy fonts (for example, look at the recent P.S. editions of Neil Gaiman’s works).
The second half of the book is much more about his writing and how these influences played into his life along with the trappings of his life at the time. Not necessarily a comment on craft or the process but more how he has developed as a writer looking at his youth, his life and his heritage as a Jew. The time spent on the last, at times in the essays, seems out of place. I think I would have digested those a bit better if the jump to the Jewish heritage part had had something transitional. I think reading all of these together created that lack of transition, as prior mentioned; they were published independent of one another or in the case of the last, was a touring talk given in 2003-04 with an 07 post-script.
Taking or leaving the content and what side you fall on the “definition of literature”, his writing is on fire. His passion creates a different voice than his fiction. He is writing for himself or a cause if you will. With this, his lists and poetic rhythms come out in time conversationally and others slightly rambling but always in a superbly crafted way. Some of the essays are worth reading, and can be outside of the whole, especially those on comics and young adult literature. Others are more worth while if you are a fan of his work, as they do reference the work and would contain the infamous “SPOILER ALERTS” of internet fans.
Side note: the hardback comes in one cool dust jacket that is 3 layers; each unfolds revealing a depth of landscape and a bunch of mythological and fantasy creature in a cool pen and ink drawing.
bryce_is_a_librarian's review against another edition
4.0
"Every book is a sequel, influence is bliss."
A passionate collection of work "In defense of entertainment." (mostly). That incisively examines pop culture and the inbred desire to put it down as something to be moved passed. When people complain about Chabon it's often his tendency to bite off a shitload more then he can chew that gets their knives out. Part of the charm of maps and legends is just how slight the essays are. They're not about charting America, mapping the psyche, or symbolism behind Little Lulu. They're content to be good solid pieces of intelligent criticism on everything from the pleasures of Sherlock Holmes and Cormac McCarthy, to the comic's industries abandonment of children and the sad sure decline in quality of Philip Pullman.
Unfortunately Chabon does end the book with some essays about his Jewish heritage and history. This is of course not to suggest that Chabon doesn't have the right to do so. Indeed the strong Jewish identity is what makes much of Chabon's work so unique. It's just that it doesn't fit in with the rest of the essays. Imagine you're reading a cook book, and find that the final third of it is excerpts from Tolstoy. That's very nice and pleasant. But it just doesn't fit. It's like Chabon wanted to give the book an extra seventy five pages and just figured, why the hell not.
Still a this is a very minor quibble, and I have a feeling when I visit those essays separately they'll work much better.
A passionate collection of work "In defense of entertainment." (mostly). That incisively examines pop culture and the inbred desire to put it down as something to be moved passed. When people complain about Chabon it's often his tendency to bite off a shitload more then he can chew that gets their knives out. Part of the charm of maps and legends is just how slight the essays are. They're not about charting America, mapping the psyche, or symbolism behind Little Lulu. They're content to be good solid pieces of intelligent criticism on everything from the pleasures of Sherlock Holmes and Cormac McCarthy, to the comic's industries abandonment of children and the sad sure decline in quality of Philip Pullman.
Unfortunately Chabon does end the book with some essays about his Jewish heritage and history. This is of course not to suggest that Chabon doesn't have the right to do so. Indeed the strong Jewish identity is what makes much of Chabon's work so unique. It's just that it doesn't fit in with the rest of the essays. Imagine you're reading a cook book, and find that the final third of it is excerpts from Tolstoy. That's very nice and pleasant. But it just doesn't fit. It's like Chabon wanted to give the book an extra seventy five pages and just figured, why the hell not.
Still a this is a very minor quibble, and I have a feeling when I visit those essays separately they'll work much better.