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A review by dfmjr
Maps and Legends: Reading and Writing Along the Borderlands by Michael Chabon
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.