Clapton. The name itself has become a description of a genre, a style, a sound.
Eric's memoirs, simply titled Clapton: An Autobiography gives the word another
definition: a life. I was expecting to breeze through this book in a few hours
as I have so many other celebrity memoirs, closing the cover with a few
previously unknown tidbits of gossip and a slight insight into the author, but
usually nothing more and in some cases, a lot less. Eric's book carries with it
a personal depth that I had not anticipated and a richness and texture of prose
that was wholly unexpected. Clapton reads like Tolkien, a Lord of the Rings
excursion through the hardscrabble landscape of Rock and Roll, filled with
giants and monsters playing to the hopes and fears of mere mortals.
The book begins at the beginning. Eric's birth into the secret of illegitimacy,
a shrouded stigma that was not revealed to him until he was nine years old.
This revelation was revealed when Eric's mother came for a visit with her new
family. No one spoke of the apparent awkwardness of the situation until young
Eric blurted out one night, "Can I call you Mummy now?" After an
embarrassingly long pause, his mother replied, "I think it's best, after
all they have done for you, that you go on calling your grandparents Mum and
Dad." Eric's feelings of rejection and separation widened.
As taxi driver, I quickly became
well versed in people's almost inherent need to unburden themselves from the
weight of truth. Every night revealed yet another stranger's secret. There were
times when I just sat stupidly silent in the wake of these admissions, unable
to offer an opinion, advice or even a half-hearted consolation. There were
other times when the cab ride confessional would become so dark and real, I
would have to clutch the steering wheel, white-knuckled, to keep myself from
wheeling around and telling the person to just shut up and keep it to
themselves for once. The anger would well up within me, not because they were
revealing themselves with unwarranted abandon, but because they were bringing
my own secrets to the fore as well, forcing me to face things that I was not
ready to cope with.
Building a Civilized Workplace and Surviving One That Isn't
by Robert I. Sutton, PhD
Business books in general are a mixed bag. Some are well-written
tomes filled with self-help strategies, real world anecdotes, and thought
provoking truisms that span most professions and industries. Others are trite,
get-rich-quick (for the author that is) morality tales that can literally be
summed up in one paragraph; a very short one or two sentence paragraph at that.
This book tends toward the first bag, but as is, it's in limbo. If Dr. Sutton
had addressed these few items, there would not be a question as to where it
belongs. Call them my bones to pick, reader considerations, or simply my wish
for a pièce de résistance
that I could take away from the book as a big "A-HA!"
Overuse: Dr.
Sutton uses the word "asshole" or "assholes" 837 times in this 186 page book.
(No, asshole, I didn't count them all.) While the book is about assholes and
how assholes can wreak havoc to an individual and organization, this is excessive.
It also seems that the author is trying to capitalize on the "cool" factor of
using a swear word much like professorial author Harry G. Frankfurt did in On Bullshit.
Inside the Bizarre World of Nature's Most Dangerous
Creatures
How many times do you read the same horror/sci-fi
garbage? You know what I mean: Aliens
take normal humans and turn them into castrated zombies, serving their masters
as long as their undernourished bodies will allow. Or highly specialized blind killers navigate
vast networks over great distances, and wreak biological havoc on
mission-critical centers of commerce or culture. Perverse? Yes.
Highly entertaining? Has to
be!
As a sucker for trashy horror/ sci-fi, I am immediately
drawn to Parasite Rex, Carl Zimmer's
tale of a fantastical world of creatures that prey on the good people of Earth
and go through varying life cycles from eggs to larvae to adults, each stage of
life in a different form, causing a different illness, attacking a different
host.
The catch is that every bit of Zimmer's "tale" is
nonfiction.
Zimmer takes the topic of parasite evolutionary biology and
gives it an Alien - Invasion of the Body Snatchers - X-files rendering... sans
the Sigourney Weaver underwear scene.
Well, there is underwear, but it has fluke egg-infested poop in it. And some snails eat the poop. Then the snails throw up big balls of
egg-infested snot. An unsuspecting ant
wanders by and shares the snotty prize with his friends, who partake and get
infected after the eggs hatch. At this
point, some of the flukes take control of the ant's tiny brains and make them
climb blades of grass and hold on tight.
Soon, a cow finds the yummy ant grass.
At last, the adult flukes have reached their final destination - the
cow's intestine. After a candlelight
dinner the flukes make more eggs that travel down and out the back of the
cow. More poop. More snails eating poop. Rinse.
Repeat.
Sweet redemption.
If you can handle it, this book amazingly dispels the myth
of the parasite as a lowly, unsophisticated organism, raking the muck at the
bottom of the evolutionary food chain.
From this standpoint, Zimmer demonstrates how these life forms have
evolved to a level of precise specialization, attacking the host's immune
systems, and manipulating the host for the parasite's benefit. I hear Frenchie from Grease (not often, just this
once): "Men are rats. Listen to me, they're fleas on
rats. Worse than that, they're amoebas on fleas on rats." Just take a few steps further and you get the
picture.
Davy Rothbart, most famous for his bestseller "Found,"
compiles eight short stories in "The Lone Surfer of Montana, Kansas" that blend
coming-of-age adventures with a ready sexuality that is both honest and
refreshing. As all are told from the first person, readers find themselves in a
forced intimacy with the Narrator throughout the book. Not that we mind, mind
you. We take each journey with the Narrator and it is difficult not to engage
and enjoy each moment.
The title story revolves around the Narrator and his
girlfriend Sally, making out in a car.
They are eventually interrupted by a nearby boy, "surfing" on a piece of
wood, who falls and breaks his arm.
Seems innocuous enough. But for all the voyeuristic satisfaction the
Narrator experiences watching the surfer in the lead up to the injury, we
readers experience "the same tingle of shame and perverse excitement race up
[our] spine." Rothbart seems to make us willing conspirators in the Narrator's
emotional transgressions, or at least guilty of enjoying every unclasped moment
of it.
Every once in a blue moon, I come across a novel idea. I may
stand alone in this, but I'll say it anyway:
I think Frank Warren's book PostSecret
is absolutely brilliant. Warren passed
out three thousand postcards and invited people to anonymously send them to him
with their secrets written on them. As word of Warren's little project got
around, and after the three thousand postcards were spoken for, people sent homemade
cards to Warren's mailbox in Germantown, MD.
I'm still in love with her. I hope she reads
this, and
If you have three quarters, four dimes, and four pennies, you have $1.19. You also have the largest amount of money in coins without being able to make change for a dollar.
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