Photo Book Review: The Street Philosophy of Garry Winogrand, by Geoff Dyer

WinograndGarry Winogrand was a well-known street photographer who from New York who died in 1984. His work was notably exhibited at the Museum of Modern Art in 1967, together with photos by Diane Arbus and Lee Friedlander, and these three photographers transformed photography.

In this new book (Amazon.com, Amazon UK), author Geoff Dyer selects 100 images by Winogrand and discusses them. For each one, he gives some background, relates them to other photos or films, and contextualizes them in Winogrand’s career, or in the history of photography. But his texts are not dry academic commentary; they are often wry extrapolations about what is happening in the images, inventing characters, imagining what they were doing before, during, and after the photos were shot. Dyer makes up a lot; he creates characters, some that re-appear in other photos; he creates situations; he turns these photos into little bite-sized stories.

Much of what Dyer says – about related photographers – is useful as criticism, but it’s the made-up parts that make this book so interesting. It is not intended to be factual, but rather to be one writer’s imagination of what the photos are about.

Nevertheless, his observations about composition and context are all incisive, and he clearly knows a lot about Winogrand’s work, having had access to a large number of unpublished photos (some included in this book). This is a fascinating journey through the work of a great photographer with an interesting guide who tells fascinating stories.

I’ll note that Dyer is the author of a wonderful book about one of my favorite films, Andrei Tarkovski’s Stalker. His book Zona breaks down the movie into 142 sections for each of the 142 shots in the film.

Here’s a video created by the publisher, with Dyer discussing the book, and showing some of the photos.

And here’s a podcast episode where Dyer discusses the book.

Audiobooks on Vinyl?

From Billboard:

The resurgence of vinyl continues, as Hachette Audio, an imprint of Hachette Book Group, and Wax Audio Group has announced a new series of vinyl + digital audiobook titles in 2018. The range will include releases read by Lin-Manuel Miranda, Jerry Garcia, Amanda Palmer and Steve Jones, among others. The series launches with David Foster Wallace’s This Is Water, which is available today (Feb. 27).

WTF? Seriously, why would anyone do this? No one is going to listen to an audiobook on vinyl. This is just capitalizing on the lets-buy-vinyl-so-we-can-flog-it-on-eBay-in-a-few-years boom.

Among such creative executions of Hachette and Wax’s audiobook-on-vinyl titles: Wallace’s This Is Water is available in two limited collector’s editions — 1,500 copies will feature a blue-and-white water-inspired design for online orders, while independent bookstores and music stores will get 500 copies on orange colored vinyl.

“Creative executions…” Pfft.

Episode #93 – Simon Vance on Narrating Audiobooks

The Next Track Blue Flat Button2 400pxIf you’re an audiobook listener, you will probably recognize this voice. We welcome Simon Vance, one of the most widely appreciated narrator of audiobooks. He discusses what it involves to record audiobooks, and how the audiobook industry works.

Listen to The Next Track: Episode #93 – Simon Vance on Narrating Audiobooks.

Find out more, and subscribe to the podcast, at The Next Track website. You can follow The Next Track on Twitter at @NextTrackCast, to keep up to date with new episodes, and new articles from the website.

Transportive Reading for Underground Transportation – The New York Times

When people talk about books, they often characterize either the genre (science fiction, romance) or the feeling the author strives to impart (a thriller is, presumably, thrilling). But there are, to my knowledge, only a handful of geographically specific kinds of reads. There’s the “beach read,” a phrase we all hear often come every summer season. There’s the notoriously disposable “airplane read.” And for getaways in the woods, you’ve got the “cottage” or “cabin read.” And that’s about it.

Nearly all of these designations are pejorative. The designation of a “beach read” suggests a book that’s frothy and engrossing, but ultimately ephemeral — one that you can sink into as you slump in a folding chair in the sand, but you won’t miss too much if you forget it at the hotel. The term “airplane read” is even more of a dismissal, the idea being a book you can breeze through in the time span of an average flight, and then discard. (The one and only Mack Bolan adventure novel I’ve ever read was one I discovered in a seatback on a puddle-jumper from Toronto to Harrisburg, Pa.) The “cabin read” has a bit more prestige: It implies the kind of pleasurable literary project you lug on an isolated retreat and tackle over an uninterrupted week or two.

To my mind, this list is missing one important geographical location: the subway. Lots of people read on the go, of course; there are entire websites devoted to capturing commuters and the books they’re reading underground. As a New Yorker, I’m on the train all the time, my nose constantly buried in a book. But what makes for a perfect “subway read”?

The first time I read Proust’s Remembrance of Things Past was on subways and busses in New York. There’s no need to dumb down “subway reading.”

Source: Transportive Reading for Underground Transportation – The New York Times

Who Still Reads Anthony Powell?

Many years ago, someone recommend that I read Anthony Powell’s Dance to the Music of Time. Since I’ve long been a fan of Marcel Proust – I’ve written a number of articles about his work – I should like Powell. After all, he is called “the English Proust.”

Alas, that moniker is quite incorrect. The only thing that makes the two similar is that Proust wrote a very long novel in seven volumes, and Powell wrote a cycle of novels in 12 volumes. The writing, the characters, the style are all very different.

Nevertheless, I tried. I read fifty or so pages, and gave up. But I tried again last year, and was hooked. Now that I live in England, perhaps I understand this type of novel a bit more than when I was a foreigner. Powell’s work is humorous, perceptive, enjoyable, its characters quirky, and the voice of its narrator, Nick Jenkins, is compelling. It’s not as deep or as linguistically challenging as Proust, and, in fact, it’s best to just forget the comparison.

But the question Who still reads Anthony Powell? is one that A. N. Wilson answered in a podcast from the Times Literary Supplement, at the time he published a review of Hilary Spurling’s recent biography of Powell. He seemed to think that no-one reads Powell any more, and, in a relative sense, that’s probably correct. But I’m sure there are occasional curious people like me who pick up the first book in the cycle, and find it enjoyable, and keep on going.

I found one interesting coincidence between the novels and my life. Early on, two of the characters go to France to learn to speak French a bit better. They stay at a place called La Grenadière, which is a property in Saint-Cyr-sur-Loire, a town next to Tours where I lived for seven years. I would often walk by La Grenadière, which is now an equestrian center, in my strolls to and from a local garden.

Powell is probably indicative of a wide range of post-war novelists in the UK who have been forgotten. Wilson mentions a few in his interview, most of whom I am unfamiliar with. Alas, this is what happens: the old make way for the new, and only a handful cling on over time. That Powell is still read is a sign that his work has some staying power. There are, apparently, a smattering of Powell fanatics, who run Anthony Powell Societies in both the UK and the US. (I joined an email discussion list for one of them, only to find that my introduction emails bounced; I assume someone died.) Perhaps he is one of those authors whose flame is maintained by a small circle of fanatics, who will eventually die off.

In any case, if you have a few quid to spare, I recommend that you buy the first of four omnibus volumes of the work in Kindle format. It’s £5 in the UK, and $7 in the US. You can get the entire cycle for £20 or $28. If you like audiobooks, I strongly recommend the recordings narrated by Simon Vance from Audible UK or Audible.com. Vance has the perfect tone for this work, and I’ve been switching back and forth between the text and the audio as I read thorugh the cycle.