The Penguin Classics Book

Did you know there is a card game played in Japan at the New Year, called uta-garuta, where 100 cards have a full poem on each — traditionally taken from their classical poets — and another 100 have just the final line. Players take turn reading the poem from the deck, while the others race to find its concluding line from the cards with the final lines. I didn’t until I read about it on page 111 of The Penguin Classics Book, by Henry Eliot.

(I think that’s a wonderful game idea and wish someone would do a similar game for Western poets… although I understand that not all western forms fit the card-size restrictions of the game…)

It’s the sort of delightful, fact-and-fun-filled book that encourages browsing to uncover this and so many other tidbits of information about books, their authors, and their culture. I recently added Eliot’s  book to my own library and have spent many hours cheerfully rambling through it. Every page seems to have something to learn and enjoy. It’s the sort of coffee-table-toilet reading book that can suck you in for hours.

The publisher’s description notes,

The Penguin Classics Book covers all the greatest works of fiction, poetry, drama, history, and philosophy in between, this reader’s companion encompasses 500 authors, 1,200 books, and 4,000 years of world literature, from ancient Mesopotamia to World War I. Filled with stories of the series’ UK origin, author biographies, short book summaries and recommendations, and illustrated with historic Penguin Classic covers, The Penguin Classics Book is an entertaining historic look at the earliest chapters of the world’s best-known Classics publisher.

The author, Henry Eliot is, according to the same site, “Creative Editor of Penguin Classics.” The book is an ambitious, well-designed look at the history of one of the world’s most famous publishing imprints: Penguin Classics. The line began in 1946 as a means to make classic literature available to the general public at an affordable price. The books quickly became favourites both for booksellers and academics, and provided a publishing outlet for translators and editors unlike any seen before.

The first title published in the series was a translation of Homer’s Odyssey, and in its first decade, the line had a mere 60 titles to its name. Today, it has some 1,200 titles, covering literature from the Babylonian Gilgamesh epic to modern, international authors. And everything in between: the line has plenty of English-speaking authors, but also translations of works originally written in French, Russian, Italian, Korean, Japanese, Persian, Norse, Vietnamese, Hebrew, Old English, Greek, Latin, and many more languages. And not just literature: there is poetry, philosophy, biography, history, plays, memoirs, folk tales, and scripture. Four millennia of the written word is here.

For those of us who love reading, this series has provided a wonderful opportunity to open windows into other cultures, other communities. And Eliot’s book is like the exquisite aperitif before the meal.

Eliot’s book draws a somewhat fuzzy line at World War I (including some authors who wrote later, but also missing some like Don Marquis and Marcel Proust who wrote during that period) , which I found a trifle disappointing, since there have been many modern books published in the line since then. I live in hope that a second volume, following from the chronology of the first, will be published. But as I wait, this volume engages me.

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The Cancer Diaries, Part 7

I don’t want readers to think I’m being narcissistic in writing these posts about my cancer or how it has affected me. Sure, I can be accused of being all sorts of things for writing my other posts, and a narcissist is the least of them. I’m sharing these because I felt — I hoped —others might benefit from my experiences: men and their partners. I think partners (be they men or women) should be as fully informed and engaged about what happens and what to expect as the patient.

I found a lot of medical and pseudo-medical (read: quack) advice and descriptions online about prostate cancer, symptoms, and its treatment, but not much of a personal nature. Maybe I didn’t search far enough, but what I wanted to read was what it meant to the person who received the diagnosis and the treatment. How does it feel to wake up every day and look in the mirror, knowing you have cancer? What goes through a person’s mind as they get wheeled into surgery? Or sit for hours in a thin hospital gown, among strangers, awaiting treatment? How should I prepare for these events?

Knowing the technical details and the biology was, of course, important, but how it affected a life in progress mattered equally or more to me. So I decided to post my own.

I’ve tried to document my experiences and emotions in these posts as honestly and openly as I can. It isn’t easy: I’m unaccustomed to writing for the public about myself and the details of my life except in a somewhat removed or neutral manner (like my posts on shaving or my reading). I am normally a very private person when it comes to my body and was reluctant to even mention the diagnosis to close friends and relatives at first. I was raised with the typical inhibitions of a suburban, middle-class, Anglo-Saxon family, and we didn’t talk about body parts, especially those related to sex. Admittedly, that was a long time ago — the Fifties and Sixties often seem like another world, imagined in a book or movie, rather than lived — but the reluctance to do so now remains.

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Books, writers, words, and competencies

Oxford English DictionaryI have always believed that any good, competent and credible writer can be judged (if judge people we must, and yet we do) by the books on his or her desk. Yes, books: printed hardcopy, paper and ink. I’ll go into why books are vastly superior to online sources a bit later (although I suspect my readers already know why…).

Although I am no longer in the media or much of an active writer these days, I believe I can still determine the craft, the credibility and dedication of a writer simply by a quick glance at their library. That’s because good writers have a library to which they refer. Words, and words about words, matter to them.

For a writer or editor not to be passionate about words, not to continue to read and learn about them, not to to delight in them, is like an architect not to be passionate about wood and steel. Or a musician not to be passionate about the materials of which the instrument is constructed. A cook not to be passionate about the ingredients that make up the dish. Good writers care about words. This is true whether the writer be in advertising, technical writing, PR, journalism, a blogger, a poet or a novelist.

And it’s not just words by themselves, but how they play together, how they glide or grate, how they tangle or spin. Good writers also care about grammar, spelling, punctuation and style. Even the typefaces matter. If these things don’t, matter, to paraphrase Truman Capote, they’re not writers, just typists.

There are four essential books every writer and editor needs on a desk, or at least within reach: a dictionary, a thesaurus, a style guide, and a usage guide. Anyone’s claim to be a writer or journalist without these is suspect. However, which ones they chose is also important to consider.

But before I look into these categories, let me explain about books vs. online sources, and why books are superior. And this advice applies not only to people who write for a living, but to bloggers, aspiring novelists, academics working on dissertaions – anyone who writes regularly or for pleasure.

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Of dictionaries, memories, and friends

Johnson's DictionaryWhen a copy of this selection from Samuel Johnson’s famous dictionary arrived last week, I was delighted, and immediately reminded of my late, and well-loved friend, Bill. He would have appreciated the book, chuckled over Johnson’s witty definitions, delighted in the words at play. We would have sat around the kitchen counter, alternately reading random definitions from the book, in between sips of wine.

Like every good writer I’ve ever known, Bill loved words, puns, wit, and the interplay of language.

Sadly, Bill died of esophageal cancer late last year, the same cancer that took my father a few years earlier. A nasty, painful, flesh-wasting disease.  Because of that, Bill and I never got to sit down and share our thoughts about this book over a glass of wine, as we had done many times over many different books, before. I saw him a couple of weeks before his death, as he lay, bedridden, in palliative care. A thin shadow of the man who used to come up for long weekends to spend time with us.

Bill was a passionate reader and we shared many books and interests in common; especially those on Napoleonic and English history. He had a passion for British naval history, and Jane Austen’s life and times, and he was a fount of knowledge about the late 18th and early 19th centuries. He could quote Shakespeare, Gilbert & Sullivan, and Austen. He introduced us to numerous BBC dramas, comedies, and specials, and he was generous in lending his DVDs of them. He had a musical streak and we played guitar and ukulele together. And, of course, he loved words.

I was reading through this book the other night, and wondered how Johnson himself felt about friendship and death. James Boswell was his biographer, friend and companion late in his life, but did they share the same sort of closeness as I had with Bill? Boswell went off on a trip to Scotland when Johnson was sick, and was away when the latter died, in 1784. How did Johnson feel about Boswell’s absence, or Boswell and being so far away when his friend died?

Boswell’s comment on hearing of the death was, “He has made a chasm, which not only nothing can fill up, but which nothing has a tendency to fill up.” I felt similarly, when Barbara, Bill’s wife, called to tell me of passing, last year. And I felt relieved, not that he was gone, but that his suffering was finally over. I am not ashamed to admit I cried at the news.

I’d known Bill since the late 1970s-early ’80s, back when we both worked on InfoAge magazine, years even before I met Susan. Many the evening back then we stayed up late and talked, sometimes argued, and drank our wine while playing chess, go, or some wargame – at which he almost always won. He was the smartest, funniest man I ever met and my time with him – our time, really, since he was a friend to both of us – was precious.

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2018 in review

Happy New Year
As the year 2018 closes, it’s time for my customary review of what I wrote. It’s also time to thank every reader for participating, for reading my humble musings, for sharing my posts and sending me emails about them. I appreciate your presence and your comments.

Twenty eighteen was another good year for my blog. I wrote almost 180,000 words  and saw one-two percent more visitors than last year (although not quite as many as my best year, 2016). My best month for visitors was May; the slowest was November.

Since Jan. 1, 2012, I’ve written close to two million words on this blog  (about 1.8 million in published posts; nearly  67,000 in draft posts, the rest in pages, cutlines, coding enhancements and comments). I’ve published 1,140 posts since I began (and more than 70 are still in draft form). Of these, 108 posts were published in 2018 (the highest number was in 2014 at 220).

Nine posts were published in January; eight each in February, May, June, July and October; five each in March and April; eleven in May; twelve in August; thirteen in September and December; four in November. I started fourteen other posts that never got published this year, but some may be finished in 2019.

The longest post this year was the Timeline of the original Collus share sale, from July, weighing in at 9,300 words. It was a condensed version of the documentation I provided to the Saunderson Vindictive Judicial Inquiry this year. The SVJI was a hot topic for me right from the day Deputy Mayor Brian Saunderson used it to launch his mayoralty bid even before the official campaign season began. I expect the SVJI will continue to provide me fodder for comment next year as its costs to taxpayers rise and rise and rise.

The shortest post this year was a mere 259 words condemning the nasty attack-robocalls one of the mayoral candidates used in the municipal election campaign. I had once hoped such dirty tactics were beneath local candidates, but I was proven wrong: the ethical bar was set pretty low this campaign.

My most prolific month (in word count) was December at 23,450 words;  my least was November at 7,228. Average number of words per post since I began: 1,544.

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Storytelling cubes

You don’t expect Wal Mart to be the source for literary tools, but if you amble into the section crammed with toys, you can pick up a set of Rory’s Story Cubes for just $10 (the base set). Now, I realize these are meant as a creative game for children and/or families (marked ages 8+), but they are actually an ingenious little tool for plot development and ideas in storytelling. And for some exercises in creative thinking.

Wait, you say: they’re just dice with pictures. Can pictures alone make a story? Well, yes: just look at Xu Bing’s Book from the Ground: from point to point (I mentioned this in an earlier post) – composed “…entirely of symbols and icons that are universally understood.” And on Indigo’s site as, “A book without words, recounting a day in the life of an office worker, told completely in the symbols, icons, and logos of modern life.”

No words at all. But Xu’s book is not so much a story as a rather detailled diary of a day in one person’s life. Get up, dress, go to work, have coffee… it’s not the stuff of high drama. It’s rather mundane once you figure it out.

And reading it is as much an exercise in puzzle solving as anything else. With each line parsed, you translate each symbol into a reasonable syntax and grammar so it makes verbal sense. Sometimes you have to ‘rewrite’ it in your head to make it scan properly in something that approximates English (or whatever your native language is, because one of the points he makes with this book is that the chosen symbols are ‘universal’). In fact, while there is a clear narrative, it’s not that hard to revision it by giving alternate meaning to some of the symbols. There’s a companion volume I recommend you also get if the original intrigues you.

But his point is that we can communicate with something other than words or writing. I agree, albeit not as well or as richly as we can with words.

Anyway, I bought a set of Story Cubes for my grandkids, and snuck one into the cart for myself. Only this month, on a trip to Toronto, did I get a set of the company’s “action” cubes and finally get around to tinkering with them (in part because I started re-examining William Cook’s bizarre, intriguing book, Plotto) and the nature of procedurally-created narrative (here’s an excellent piece about that, by the way…)

First a brief description of the base set: nine six-sided dice, each with a simple, different image engraved on each side (a total of 54 images – you can see them all on Pinterest). There are instructions for three types of games: one person to make up a ‘once upon a time’ story from the results of rolling all nine dice; one person to make up a theme-based story from the dice and one in which multiple players contribute to a collective story.

The packaging copy promises more than ten million combinations, based on the simple calculation of 6^9. That seems a bit over-stated, but perhaps that suggests combinations from the dice being laid out in any order, not simply based on the order of throwing.*

The images on the faces are fairly obvious, but a few might cause some confusion depending on your cultural experiences. The letter “L” inside a box is the British symbol for Learner (as in learning to drive – the company is from England). There’s a scarab beetle, an abacus and what seems a compass rose of sorts (see it in the picture of the package, above). Then there’s that slightly creepy shadow monster (in the topmost picture, far right bottom) and something that may be a demon or dragon (see left image).

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