Books read in May of 2024:
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+= book I have read before, but not this reprint/edition/translation
Currently Reading:
Books read in May of 2024:
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Midnight in Chernobyl: The Untold Story of the World's Greatest Nuclear Disaster, by Adam Higginbotham, might just be one of my all-time favorite nonfiction books. I got this one early in 2020, when it had just been released in paperback, around the same time that I was watching the HBO Chernobyl miniseries (a miniseries that, while well-made and with great production values, plays very hard and loose with the facts, which is very ironic when you consider that its tagline was "What is the cost of lies?"). The author spent more than 10 years conducting hundreds of hours of interviews with many people involved in the accident, along with utilizing letters, unpublished memoirs, declassified documents, and other such material. The end result is a very well-researched and gripping read that chronicles not only the Chernobyl disaster and its aftermath but also the terminal decline of the Soviet Union, and I highly recommend it. It's all here: chapters on the design and construction of the Soviet RBMK reactors, the events leading up to the disaster, the disaster itself (and the frantic around-the-clock attempts to prevent a second explosion/further meltdown), the construction of the Sarcophagus to contain the reactor's remains, the investigation into the cause of the accident (and the trial for those held responsible)... even the Elephant's Foot gets its own chapter. There's also a nice picture selection, and many helpful maps and diagrams (including a detailed map of the city of Pripyat).
The book is very well-written. Consider this passage in the chapter on the erection of the Sarcophagus: "When Slavsky arrived to survey the project once more, on November 13, the Sarcophagus was all but complete - a terrible edifice of black angles, still and ominous, which perfectly expressed its purpose, like a medieval fantasy of a prison to hold Satan himself. It was an extraordinary achievement, a technical triumph in the face of horrifying conditions, and a new pinnacle of Soviet gigantomania: the engineers boasted that the structure contained 440,000 cubic meters of concrete, 600,000 cubic meters of gravel, and 7,700 tonnes of metal. The costs had risen to more than 1 million rubles - or $1.5 million - a day. As he gazed up at his masterpiece, a cathedral of brutalism in concrete and steel, it was said that tears welled in the old man's eyes."
And although Higginbotham does a good job explain such complex matters as nuclear physics to the layman, the book never forgets the human heart of the struggle, and much time is spent with the plant technicians, firefighters, doctors and nurses, scientists, and soldiers who put their lives on the line (and in some cases sacrificed their health and/or life) to stop the disaster. When I think of the bravery of those men and women, many of whom knew they were marching off to their respective dooms, it's hard not to get a bit choked up. One of the best chapters in the book, "Inside Hospital Number Six," deals with the patients suffering from acute radiation syndrome, and the horrifying suffering and death that accursed those who were exposed to the worst of the radiation and fallout. It's all quite poignant, and one of my favorite passages in the book occurs at the end of the chapter: "By the end of the third week in May, the death toll from the accident had reached twenty, and Alexander Yuvchenko grew frightened. His white blood cell counts plunged to zero, and his remaining hair fell out. When will it be my turn? he wondered. Alone in their rooms, the most seriously injured survivors began to fear the darkness, and the lights in some wards were kept on constantly. A good Communist, Yuvchenko wasn't religious and knew no prayers. Yet each evening, he lay awake and pleaded with God to let him live through one more night."
This year Higginbotham had a new book published, this one dealing with the Challenger explosion, another disaster that fascinated me as a child. I asked for it for my birthday next month. A potential future bathroom read?
Today’s
topic of discussion revolves around my fascination towards the film director
Quentin Tarantino. I first became interested in Tarantino (both his life and
work) sometime in the first half of 1997. Why? I’m not entirely sure. I know I
had the hots for Uma Thurman at the time and I remember that back in the 90s
her image on the famous Pulp Fiction movie
poster was very ubiquitous (for example, the local video rental store we went
to back in the day had a Pulp Fiction poster
on display). And I remember some of my classmates talking about the movie in
high school every now and then, which further stoked my interest. The thing
was, at the time our parents were very strict about what kind of films my
brothers and I could watch, the rule being that we could start watching more
adult films when we were 18 . . . and I was around 16-17 when I became interested
in Tarantino. In fact, I purchased the Pulp
Fiction screenplay from a Waldenbooks at Lincoln Mall in June of ’97,
around the time I had my 17th birthday, the summer before I started
senior year in high school. It seems weird to me now, but I was so obsessed
with this director whose work I had never even seen that I actually read the
screenplay some months before I saw the actual film, though in November of that
same year (even though neither of us were yet 18) our parents relented and let
me and one of my younger brothers finally watch the movie (fun fact: around the
same time we also saw the well-cast Tarantino rip-off 2 Days in the Valley). That kind of opened the floodgates: soon
enough I had also seen Reservoir Dogs,
and in January 1998 my mom took one of my brothers and me to see Jackie Brown at the cinema (as it was
still in theaters at that point, having only been released the previous December). I also began collecting some of his other
screenplays, along with buying the CD soundtracks, and any book I could find
dealing with Tarantino.
Earlier I mentioned how it was strange that my first exposure to Pulp Fiction was via the written word, but in one sense it was also appropriate, what with the literary flourishes that Tarantino brings to his films (indeed, I know a fair amount of fellow writers who admire Tarantino, and I suspect it might be for those aforementioned literary flourishes: the way his films are often divided into chapters like most novels do, his at times non-linear structures and use of flashbacks, things like that). I can’t say Tarantino was the first film director I idolized: as a typical 80s kid, at an early age I gravitated towards George Lucas and Steven Spielberg, and in truth (as I've noted in the past on this blog) my earliest ambition was to be a film director. But with Tarantino, not only was there the added bonus that he also wrote his own films (which the writer in me admired), but he also had a cool/hip factor that, to me at least, was a new thing (I also think that, like Bret Easton Ellis, he’s far more intelligent/erudite than his inarticulate public image often suggests). Certainly he had a big impact on my life as an artist: before I read the Pulp Fiction screenplay, the books I was writing in high school up to that point were all plot, plot, plot: but with Tarantino’s films I saw that not everything you did in a work of fiction had to just advance the story forward . . . I realized that you could also have characters just hanging out and bullshittin’ with each other about pop culture. In a funny sort of way, even though my novel Harlem Smoke was conceived and marketed as my Lovecraft novel, in some regards it was also kind of a subconscious Tarantino-inspired project, in that a lot of the book is really just characters hanging out and shooting the shit (much like the first half of Jackie Brown, my favorite Tarantino movie): I even brought back the character of Iris Brant, the star of my 1998 novel Arthouse (which was one of the first of my post-Tarantino books). It was also through Tarantino that I got interested in indie films in general (and really, the 90s was a great period for indie films), which led me in turn to discover the work of the Coen Brothers and David Lynch (again, in 1998).
Today’s featured book in my ongoing Bathroom Reads series wasn’t the first book on Tarantino’s life and career I ever purchased: that would be Quentin Tarantino: Shooting From The Hip by Wensley Clarkson, which I got shortly after the Pulp Fiction screenplay, at the very same Waldenbooks. And yet, while I’ll still flip through the Clarkson book every now and then out of nostalgia, I don’t do it as an annual bathroom read like I do today’s book, which is King Pulp: The Wild World of Quentin Tarantino, by Paul A. Woods (first published in 1996, expanded in 1998: for the curious, the writer also did a book on David Lynch for the same publisher, which I can also recommend). I’m not quite sure when I got this book, but I believe it was at a Borders sometime in 1998. Bad cover art/unflattering photo of Quentin aside, it’s a decent enough summary of Tarantino’s 90s output, divided into 8 hefty chapters, with a generous selection of (mostly black & white) photographs. Chapter 1 deals with Tarantino’s early years and upbringing, his time working at Video Archives, his early screenwriting attempts, and so on. Chapter 2 deals with Reservoir Dogs, Chapter 3 revolves around True Romance, Chapter 4 concerns itself with his various movie influences (including a long and fascinating section on Italian exploitation movies), Chapter 5 is about Pulp Fiction, Chapter 6 tackles Natural Born Killers, Chapter 7 investigates some of his post-Pulp work (including Four Rooms and From Dusk Till Dawn: I confess I’ve yet to see the latter), while the final chapter is all about Jackie Brown. In other words, perhaps it is a bit outdated (though I think a third edition may have been released in 2005, covering the Kill Bill films), but still of interest to anyone interested in all things Tarantino.