We consider the culture of blurbing: In this morning's Washington Post, book critic Ron Charles tells a horrible story about the new novel, American Dirt.
The story ends with the cancellation of a book tour in the face of reported death threats. Some of these reported threats have been directed at the novel's author, some at the author's critics.
That part of the story is very instructive. But the part of the story we want to discuss concerns the culture of blurbing.
In Charles' view, the novel in question is "mediocre." That said, here's his account of the way the book was promoted and blurbed:
CHARLES (1/31/20): [American Dirt is] just a melodramatic thriller tarted up with flowery ornaments and freighted with earnest political relevance. The book might have fallen unremarked into the great vat of sentimental suspense fiction that New York pumps out every year, except for an unprecedented collision of promotion and denunciation.Charles was describing a gong-show corporate culture. According to Charles, it was an instance of blurbs gone wild—not excluding the effort by the blurber still known as Stephen King.
Early on, the publisher, Flatiron, a division of Macmillan, decided to aim for the stars. It reportedly paid more than a million dollars for “American Dirt,” which isn’t so much an estimate of its value as an investment in the future publicity that such an absurd advance inevitably generates in Places That Matter. Flatiron determined that “American Dirt” would not just be another thriller; it would be the defining novel of the immigrant experience—an emotional story powerful enough to galvanize the sympathy of a nation. An Olympian field of blurbers was assembled, including John Grisham, Stephen King, Ann Patchett, Julia Alvarez and Sandra Cisneros. Don Winslow called it “a ‘Grapes of Wrath’ for our time,” which is ludicrous but hardly out of bounds in the make-believe realm of blurbs. Movie rights were sold. Barnes & Noble picked it for the chain’s national book club. And finally, Oprah announced that “American Dirt” was her next book club pick.
Should American Dirt be seen as "a Grapes of Wrath for our time?" According to Charles, the claim is ludicrous; the book itself is "just a melodramatic thriller...freighted with earnest political relevance."
Along the way, Charles also said that the aforementioned blurb, while ludicrous, was almost par for the course, given the current make-believe culture of publisher-supported blurbs.
According to Charles, ludicrous conduct of this type is hardly unknown within the modern world of high-level corporate pimping. According to Charles, "an Olympian field of blurbers" sallied forth to praise a novel which was in fact deeply flawed.
Charles goes on to describe critical pushback against the book—critical pushback he praises as the way "the cultural system is supposed to work." Unfortunately, he also describes those reported death threats against the author of American Dirt, and also against her critics.
Let's set those death threats to the side. Of what were we briefly reminded when we read that passage about corporate blurbing? Ever so briefly, we thought of the way Tinseltown studios have always pimped favored films for Oscar consideration.
Ever so briefly, we also thought of this. For background, see this morning's report:
BREZNICAN (12/17/19): The first public screenings of Little Women were filled to capacity, but the distributors and awards-season strategists behind Greta Gerwig’s new film were worried nonetheless. The audience was overwhelmingly comprised of women—and the voting memberships of various Hollywood awards ceremonies are obviously not.Greta Gerwig's well-reviewed film has been pushed and promoted by an army of virtual blurbers. It's very much the current "it film" Over Here within the tents of our rapidly failing "liberal/progressive" tribe.
That trend may account for why the critically beloved adaptation of Louisa May Alcott’s classic novel had an underwhelming showing in last week’s awards nominations. The team behind the film hopes to reverse that by the time Oscar nomination voting opens on January 2.
“It’s a completely unconscious bias. I don’t think it’s anything like a malicious rejection,” said producer Amy Pascal. Still, she doesn’t believe men gave the movie a shot. RSVPs for the first screening in October, as well as many others that Sony Pictures hosted around Los Angeles in recent weeks, were skewed about two to one in favor of women. ”I don’t think that [men] came to the screenings in droves, let me put it that way,” Pascal said. “And I’m not sure when they got their [screener] DVDs that they watched them.”
Next week, we'll be exploring some of the places this virtual blurbing has gone. For today, we'll ask you this:
To what extent was Pascal hoping to win some Oscar nominations by floating the notion that Little Women was being disregarded by sexist/misogynist men?
We don't have the slightest idea how to answer that question. The answer may be very simple. It may be that Pascal had no such motive at all. She may have been completely sincere in every word she said.
That said, the culture war around this film has been fascinating and also depressing. We say that for this reason:
Our failing tribe's only current toy involves fiery claims about discrimination on the basis of race and gender. It's the only play we currently know. Surely, everyone knows this.
The Screen Actors Guild didn't nominate Little Women for an ensemble acting award. Did that happen because "men didn't give the movie a shot?" Or could it be that SAG voters simply thought that five other casts did a better job overall last year?
Freud said it first and best! Sometimes the lack of a SAG nomination is just the lack of a nomination.
That said, you can't go wrong, within our tribe, making claims like the one Pascal lodged. Next week, we'll continue to show you where this cultural impulse has led—and as we do, Donald J. Trump will still be in the Oval Office:
Did our undisciplined tribal culture help put this big crackpot there? Does it continue to aid him?
Blurbers stampeded to heap praise on American Dirt. One of the blurbers was Stephen King. Just yesterday, he was shouting self-serving praise for Little Women too.
"Progressive" pundits have stampeded in the past two months, heaping praise on Gerwig's Little Women. Is there anything we can learn from the way these people have sometimes behaved?
Ron Charles' report about American Dirt concerns a badly broken culture. Again and again, we've almost thought we were seeing something similar as we've read about Gerwig's new film.
Our tribe is dying on the vine. Our spectacular dumbness is hard to miss.
We're so dumb that we virtually squeak—and do they love it over at Fox! Is it possibly time for a bit of reform? Could our failing tribe do better?
Well, it's emblematic that it's titled American Dirt. After all, what they're selling is soap.
ReplyDeleteNo one wants to wash away our homeland -- that is what American Dirt refers to.
DeleteThis comment has been removed by the author.
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Those blurbs are advertisements written and paid for by the corporation publishing the book. You don't get to read a book before you pay for it, so the blurbs and the synopsis inside the cover and to entice a prospective reader to buy the book.
ReplyDeleteThat means that there is no claim to objectivity about the book. If someone writing a book wants to make it clear that their praise can be bought, by providing a review that is too far from accurate, that is on them. They are making money via their writing, whether blurbs or the books that made them famous enough to be solicited for a blurb. But a blurb is not a review -- it is a testimonial, a form of advertising by a recognizable person, just as when a famous actor tells you that a product he uses cures hemorrhoids.
The main problem with American Dirt is that most of the actual reviewers didn't agree with Charles. They praised the book to the heavens, whereas those who are actual immigrants or who work with immigrants and thus know their lives, considered the book to be exploitative trash. Somerby should be writing about THAT controversy, but he sidesteps it. He glosses this reviewer problem and lets us think that the rest of the reviewers agreed with Charles, calling the book what it is, when they didn't do that at all.
We live in a capitalist economy. Blurbs are how books get sold. When a publisher pays $1 million or more for a book, they must promote it vigorously to get their money back. The problem with this book is not that isn't exactly the kind of trashy easy-to-read bestseller that makes money. It is that this book gives an entirely false picture of immigrant experience, playing into conservative hands and ignoring the many better-written, truthful books about coming to America. Somerby should be asking why reviewers collude to present a misleading and damage portrayal of immigrants in the middle of an immigration crisis. That's what a liberal would do. But we all know that Somerby is no liberal.
I told you Somerby would talk about American Dirt.
ReplyDeleteSomerby cannot tell the difference between what some writer says in a blurb promoting someone else's book and what he says about his own work to an interviewer.
Why might someone like King supply a blurb (that he may not even have written himself) for a book like American Dirt? First, it is a thriller, so people who like thrillers may care about his opinion. Second, he has high name recognition, so his blurb will actually help sell the book. But it may also be that the publisher is the same as the one who has published his own work. Or it may be that someone he knows is connected to that publisher and he or she asked him to do it. There are quid pro quos and money involved. No one thinks that King would write a blurb simply because he is so excited about the book that he is willing to provide his influence for free, out of enthusiasm for a new author.
But Somerby has a gripe against King. King said something nice about Little Women. He thinks King isn't actually interested in women's issues and was running a con when he tried to jump on the Little Women bandwagon. He thinks King is just being a liberal tribe member and joining in the liberal cause of the day.
However, liberals are not on the side of American Dirt. They are on the other side, along with the critics who are complaining about the book. Most liberals support immigrants and immigrant causes. They will find American Dirt fatuous, but they will grasp the problem with portraying immigrants as that book does. And they agree that there are many fine authors who have written much better books about immigrants, without receiving $1 million advances and getting picked by Oprah for her book club.
If Somerby were liberal and not just a small man with a grudge against Stephen King (who must have snubbed him once, to have earned all this spite), he would be talking about the immigrant issues at the heart of this controversy, not about death threats or blurbs. And if Somerby were actually musing about the mainstream media, he would be talking about why more reviewers didn't say what Charles did.
Few books are really good. It's hard to do it. From what I can gather American Dirt is a crappy book. TDH here disregards the ongoing controversy about the book, that it doesn't treat the migrants correctly from a 'woke' perspective, e.g. the other isn't herself a 'Latinx'. The 'liberals' who you state are not "on the side of" the book - you don't give the reason why they are not on the book's side. Apparently, it's not simply because its badly written; it's because it has violated some kind of 'woke' principle (not the right type of migrant is at center of story). If liberals are ever going to prevail, they need to come up with more than manufactured outrages about gender and race discrimination. The fatuousness of your reasoning is illustrated by your assertion that Steven King "must have snubbed [TDH] once"; you, along with way too many people on all sides seem to have no hesitation to express opinions with zero, or extremely insubstantial, evidence.
Delete"that it doesn't treat the migrants correctly from a 'woke' perspective,"
DeleteNo, it doesn't treat migrants correctly from a truth perspective.
"We live in a capitalist economy. Blurbs are how books get sold. When a publisher pays $1 million or more for a book, they must promote it vigorously to get their money back. The problem with this book is not that isn't exactly the kind of trashy easy-to-read bestseller that makes money. It is that this book gives an entirely false picture of immigrant experience, playing into conservative hands and ignoring the many better-written, truthful books about coming to America. Somerby should be asking why reviewers collude to present a misleading and damage portrayal of immigrants in the middle of an immigration crisis. That's what a liberal would do. But we all know that Somerby is no liberal."
ReplyDeleteWhy would Somerby need to prioritize the issue of content over corporate logrolling when you've made the argument for both sides. Simultaneously.
How does "musing on the mainstream media" relate to corporate logrolling?
DeleteNo one over the age of 5 thinks ads are true. No one expects companies not to run ads for their products.
What is Somerby's point, except that liberals are still stupid for watching Little Women?
"How does "musing on the mainstream media" relate to corporate logrolling?"
DeleteWhat is that word we hear bandied about nowadays? Oh, yeah- "Intersectionality". Would King be pushing a book by Robert Zubrin even if well- paid to do so? King has image now that goes beyond writing horror novels.
No. He's doing this because the corporate world has co-opted the imperatives of the left and are selling them back to you. Even when the product turns out to be Vienna Sausages.
They've done this to conservatives for years. This sort of corporate-media-political-artistic amalgamation is the essence of exploitive intersectionality.
This is our elite class.
I saw Little Women. Massively, massively stupid.
ReplyDeleteWhat movie(s) have you liked?
DeleteWomen at War, Honeyland, The Burial of Kojo, Dark Waters. All much better. There were a ton of better movies last year.
DeleteBlurbs have been around since 1855. Somerby is just now noticing this?
ReplyDeleteWhat does this have to do specifically with liberals?
What is Somerby’s point? That these (supposedly) liberal blurb writers pretended to like a bad book?
Who said they were lying? Who says the book is bad? Is Ron Charles right?
Did other liberals dislike the book?
Somerby is straining to make his usual point (liberals suck), but this post is particularly incoherent.
""Progressive" pundits have stampeded in the past two months, heaping praise on Gerwig's Little Women. "
ReplyDeleteThis is a damned if you do, damned if you don't double bind.
If no critics liked Little Women, the film would be dismissed as inadequate.
If all the critics like Little Women, progressives are stampeding and it is an example of woke culture in which liberals are pressured to like the film.
So what is the case when it is actually an excellent film and lots of people like it because it is good? How would you know if that were the case, and not some woke popularity surge driven by liberalness?
There is no way for Somerby's thesis to be disproven so that makes it crap.
On Dec 30, 2017, Somerby wrote:
ReplyDelete"At what point did the culture of the helpless child bride make way for the culture of the thrilling sex assault?"
What kind of man describes any female character in such terms? He was comparing Laura Petrie with Rose Marie, but first, he assumed that because the Laura character met Rob at age 17, she also married him at that age, which was not stated in the synopsis. Then in the next paragraph, he defends Roy Moore on the basis that Laura is a child bride and thus Hollywood condones such behavior, so why is Moore being persecuted.
Then he suggests that Hollywood went directly from portraying women as child bridges to accusations of sexual assault. What gets glossed in that transition? The uproar over Roman Polanski's assault of a 13 year old girl, which occurred even as Laura was portrayed on TV. Polanski was convicted and fled the country. So, no, people were not condoning sex with girls and sexual assault was being prosecuted, even while Laura was marrying Rob (presumably at age 18). But Somerby skips the step that consisted of the entire Women's Liberation Movement. He ignores the marches and lawsuits (having never seen the moving about Ruth Bader Ginsberg apparently). He skips the years in which women were gaining the right to have their own bank accounts, to take out car loans and rent or buy their own houses without a co-signer, to visit a restaurant or hotel alone without being taken for a call girl, to go to grad school in some field other than teaching, to keep their kids after a divorce instead of losing them to their husbands, to keep their names after marriage (showing they were not simply chatal property of a man. And at the end of that long transition from childhood to full citizenship, women gained the right to have their complaints of sexual violence taken seriously by police. That's when men started to be accused of sexual crimes against adult women (not just children).
Conflating women with children was the excuse for men treating them like pets (at best) or property. Somerby repeats that insult in his post on Dec 30, 2017. Now he is back with misogyny again. Women who allege assault are grifters. Women who are robbed during award season are incompetent pretenders claiming victim status in the name of "woke". Because women cannot make good films and they don't deserve to take awards away from more deserving men (who make real films involving car chases). And there is no reason why a man shouldn't marry a 17 year old, since someone thought it would be funny to portray Laura Petrie as a helpless, hapless child. Is there any girl of 17 who wouldn't have done housework during that time period as part of her routine chores? What could someone as hapless as Rob Petrie have taught his wife about homemaking? The whole premise is ludicrous. But Somerby doesn't notice that. He just notices how telegenic Mary Tyler Moore was and how that justified her getting more screen time than career-woman Rose Marie.
And Somerby seems to have learned nothing in the intervening two years. He is still at it -- bashing women, especially those who are behaving like human beings in jobs they have earned the right to hold.
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