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The Ecstasy of Influence: Nonfictions, Etc. Hardcover – November 8, 2011


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Product Details

  • Hardcover: 464 pages
  • Publisher: Doubleday; First Edition edition (November 8, 2011)
  • Language: English
  • ISBN-10: 0385534957
  • ISBN-13: 978-0385534956
  • Product Dimensions: 9.4 x 6.5 x 1.4 inches
  • Shipping Weight: 2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #422,100 in Books (See Top 100 in Books)

Editorial Reviews

Review

National Book Critics Circle Award finalists
A New York Times Notable Book of 2011


"Hefty and remarkable .....These byways, all of which make room for eccentric flights as well as proper essays, augment the charm and impact of what Lethem prefers to call an 'autobiographical collage,' a phrase he lifts from Vonnegut. This influence seems only natural, for dominating all is Lethem's prime concern always: the novel....generous....exciting....openhearted, unconventional."
--The New York Times Book Review

"Did I say I love this book? Well, OK then, I love this book....bring[s] a novelist's sensibility to these essays, to find a through line, to approximate a narrative. It offers a way, in other words, to rethink the collection as a book in its own right — and not just that, but a book about a big idea."
--The Los Angeles Times

“He’s a novelist who has spent a lifetime creating his own subversive pantheon, a jumpy CBGB’s of the literary soul….Several of the essays here marinate in the fish sauce that is literary gossip…..feisty, freewheeling….funny”—The New York Times

"Emotionally engaging and intellectually nimble....curated selection of essays which thematically add up to more than the sum of its parts....Progressive....Eyebrow-raising...Impassioned....Disarming"--The Guardian 
 
“The Ecstasy of Influence
is, more than anything, a record of Mr. Lethem’s life as a public novelist, a role for which he is obviously well suited…..Mr. Lethem has such a gift, and The Ecstasy of Influence is evidence of it.”—The New York Observer

"The writer I most wish was my best friend....impressively omnivorous new collection of mostly non-fiction....reveal a lively, even manic mind at play across a wide and wonderful series of subjects that are threaded together, mostly, as a kind of autobiography of a would-be writer becoming a struggling writer and then a successful writer while all the while remaining a voracious reader.....This book is its own kind of dense and dreamy zoo, and even if you don’t listen to Echo Echo in your basement apartment, you’ll still find much in here to enjoy and know you’re enjoying and know that Lethem knows you’re enjoying as much as he does." --The National Post

"Conceptual ambition, sense of purpose and a fan’s evangelical devotion distinguish this collection from the typical novelist’s gathering of nonfiction miscellany.....impressively rich....In addition to being a writer who blurs the distinction between genre fiction (sci-fi, detective, western) and postmodern literature (a term he questions), Lethem writes with a commitment to sharing his enthusiasm for whatever obsesses him....While the results illuminate his formative influences and artistic development, they also cast considerable light on the culture at large, which is both reflected in Lethem’s work and has profoundly shaped it.....Intensifying that intimacy, he shares his complicated relationships.... high ambitions and a strong sense of purpose."-
-Kirkus Reviews, starred review


"Peppery nonfiction....provocative tour de force....thoughtful and rambunctious....dynamically juxtaposed and connected....to create a jazzy, patchwork memoir....hilarious....fresh, erudite, zestful, funny frolic in the great fields of creativity."
--Booklist

About the Author

JONATHAN LETHEM is the New York Times bestselling author of eight novels, including Chronic City, The Fortress of Solitude, and Motherless Brooklyn.

More About the Author

Jonathan Lethem was born in New York and attended Bennington College.

He is the author of seven novels including Fortress of Solitude and Motherless Brooklyn, which was named Novel of the Year by Esquire and won the National Book Critics Circle Award and the Salon Book Award, as well as the Macallan Crime Writers Association Gold Dagger.

He has also written two short story collections, a novella and a collection of essays, edited The Vintage Book of Amnesia, guest-edited The Year's Best Music Writing 2002, and was the founding fiction editor of Fence magazine.

His writings have appeared in the New Yorker, Rolling Stone, McSweeney's and many other periodicals.

He lives in Brooklyn, New York.

Customer Reviews

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It reaches out of the fog and says yes, it was, and is, like that.
Barbara Klein
This is a superb collection of essays that reveal Lethem's influences and obsessions, including science fiction and gift economies.
Mark
I often find "collected works" irritating, because they feel warmed over: they're full of things I've already read.
Amazon Customer

Most Helpful Customer Reviews

27 of 30 people found the following review helpful By A reader on November 10, 2011
Format: Hardcover Verified Purchase
I was beguiled and a bit haunted by some of the pieces in "The Disappointment Artist," Lethem's first essay collection, so I looked forward to this new one. It's a catch-all compendium like authors used to be allowed once they'd written a bunch of novels and established their right to be heard in all their personal idiosyncrasy: fat, rich and bulging, a prose scrapbook with edges hanging out, addenda and random thoughts filling the cracks between solidly set, brilliantly prosed pieces. Mailer's "Advertisements" is modestly invoked (like Nawmin, Lethem scatters brief and costly comments on "the talent in the room," that is, other novelists of his generation), but I think as well of Vonnegut's "Wampeters," King's "Danse Macabre," and Woollcott's "While Rome Burns." I don't always share Lethem's enthusiasms (Dick, Cassavetes), but I'm willing to roll with his gentle voice and unbullying advocacy; and when we do match on people (Shirley Jackson, Manny Farber) he makes me feel them anew. Of course the title piece is a great literary monkeyshines, no less entertaining or thoughtful for being the sort of stunt any writer wishes he or she'd thought of pulling first.
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16 of 18 people found the following review helpful By Mark on November 10, 2011
Format: Hardcover
Full disclosure: long-time fan of both Lethem's fiction and non-fiction. (Loved Motherless Brooklyn; loved Gun, With Occasional Music even more; his little book on They Live is a miniature masterpiece.) This is a superb collection of essays that reveal Lethem's influences and obsessions, including science fiction and gift economies. The title essay alone is an inventive tour de force worth reading again and again. He puts Franzen in the shade, is easily on par with the latest critical darling (mostly deserved) John Jeremiah Sullivan, and invites comparison with the best of DFW. Buy, and enjoy.
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11 of 12 people found the following review helpful By Amazon Customer on November 10, 2011
Format: Hardcover
I often find "collected works" irritating, because they feel warmed over: they're full of things I've already read. In this case, no. While I'd read a good amount of what was collected here, the notes on each piece in combination with the pieces I hadn't read made it well worthwhile. The assemblage also made sense, with each piece shedding new light on the others. Worth the price of admission!
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12 of 14 people found the following review helpful By John Hilgart on November 10, 2011
Format: Hardcover
Early on in this gigantic compilation of Lethem's under-the-radar writings, he tells us that he spent 10 years saying yes to almost every invitation to write something for somebody. Thank god that he did say yes, and thank god that he's not too narcissistic to censor the results, but that he is instead proud enough of them to prevent their permanent disappearance. I'll confess at the outset that I love Lethem's sentences so much that I don't really care what he's writing about. If you like his novels, these divergent, highly creative essays will not disappoint.

Lethem generally chooses to write about subjects (authors, novels, genres, cultural margins) that resonate with a 40-something product of the United States, like me. "Tradition and the individual talent" has moved on and dissolved since T.S. Eliot posited it, and Lethem's compendium may be the ultimate update to and rebuttal of that premise, a cultural archaeology and mashup for the present day that doesn't pretend to be eternal. James Brown and Phillip K. Dick finally get to rub elbows and get their due at the cocktail party at the end of the universe, but it's up to the reader to imagine how the party will develop by 2 a.m., when discussion turns to which 24-hour breakfast joint is the best option for a collective relocation, requiring a designated driver. (That driver would be you.)

When I read "The Fortress of Solitude," I was ill-equipped to distinguish between its fiction and Lethem's autobiographical reality. I've spent enough time since digging more deeply to understand that difference now, but to some extent, "The Ecstasy of Influence" can be read as as an episodic treatise written by that novel's partially self-aware narrator.
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3 of 4 people found the following review helpful By Barbara Klein on June 24, 2012
Format: Hardcover
The split of stars granted for this wonderful book tells the truth about it. I can completely understand the one stars. There cannot be anything in the middle. If you are not absolutely taken in by it, you are not going to get it at all. Sort of like "Chronic City." In one of the early essays, Lethem says something like, I am an intellectual, and I assume you are too. That pretty much says it. If it is not fascinating to you to understand how all sorts of mundane events can be shaped into a novel as perfect as "Fortress of Solitude" then these essays are going to seem sort of random. But if you truly love reading novels, you will probably have found Lethem by now and you will know Pynchon, DeLillo and Murakami and then these essays seem like a conversation with an intimate companion about something very important. Something hard to classify. It is not really literary criticism. The book asserts a communal, "We experienced this!" It reaches out of the fog and says yes, it was, and is, like that.
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4 of 6 people found the following review helpful By Il'ja Rákoš on September 30, 2012
Format: Kindle Edition
From Johnathan Lethem, a collection of essays, short fiction, musings, and, apparently, blog posts with a functioning kerygma of the importance of influence. No, not like your uncle with connections in the police, but how stuff - life, art, quasi-art, science, history, politics, and personalities - influences other stuff. Or how those things have influenced Lethem and how, if we follow his lead, that stuff should be influencing us.

I got the book chiefly for the eponymous, and ingenious, essay where Lethem takes a unique (if not entirely original, hoping I don't spoil the surprise) hack at the topic of artistic influence, examining a number of celebrated (and again, not entirely original) works by Nabokov, T.S. Eliot, Bill Shakespeare, and Disney. They're not all as clever as you'd long supposed them to be. Or maybe they are, but clever in way you might not have expected.

There's so much packed into a few pages that it's difficult to choose, but his musings on gift economy vs market economy, inalienability, the bloated American copyright law, and the viability of contemporary culture plate just a slice of what is so wonderful, so resonant, so refreshing, in the essay. He, Lethem, the artist, writes with passion here.

A sample: "...artists, or their heirs, who fall into the trap of attacking the collagists and satirists and digital samplers of their work are attacking the next generation of creators for the crime of being influenced, for the crime of responding with the same mixture of intoxication, resentment, lust, and glee that characterizes all artistic successors. By doing so they make the world smaller, betraying what seems to me the primary motivation for participating in the world of culture in the first place: to make the world larger.
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