Why Nothing Is Funny

Book Review: A Nihilist Walks Into a Bar by Brianna Ferguson

by Peter Clarke

 
 

If you take one look at Jokes Review, you know that we don’t actually publish jokes. In fact, we’re more than happy to do without humor unless it’s unmistakably ironic, meta, and/or actually funny. Still, every submission period, we get at least a few people submitting grade-school level knock-knock/yo’ mama/what-do-you-call-it-when-type one-liners.

Someday, just to make a point, we may actually publish these submissions. But then we’d likely have to shut down operations out of embarrassment.

Brianna Ferguson gets it. Our most frequent contributor, she’s published four stories, one poetry collection, and an author interview with us. Totally in keeping with our own mystique of pretending to publish jokes while really publishing high-brow literature, she now has a book out from Mansfield Press titled, A Nihilist Walks Into a Bar.

I really, really hope someone picks up her book thinking it’s a collection of nihilist-themed jokes. And I hope they’re utterly crushed to find, instead…poetry.

Now, the funny thing about that—and about all of this—is that (and I’m sorry to spoil the secret here, Brianna) her book really is a collection of jokes. It’s just that—since it’s poetry, literature—they’re more ironic, subtle, and challenging than your one-liner style ha-ha joke jokes.

While reading Brianna’s book, I couldn’t help myself and I looked up nihilist jokes on Google. I’d never heard of such a thing, but sure enough:

“I used to hate nihilist humor…but nothing is funny to me now.”

“Introducing the nihilist dating agency…for people who have nothing in common.”

“My nihilist best friend has poor self-esteem…he just doesn’t believe in himself.”

“There’s very little demand for nihilist merchandise…I guess it’s a Nietzsche market.”

And of course:

“A nihilist walks into a bar…” [full stop]

These are fine. Maybe you even chuckled a teeny-tiny bit. But chances are you weren’t devastated, brought to tears or hysterics, or otherwise impacted by these jokes. To get that effect, you’ve got to read fully fleshed-out, fully humanized renditions of these one-liners—which are the poems in Brianna’s collection.

True to nihilism, the collection has a fairly bleak theme, something like: The struggle against overindulgence and sloth in a world where nothing matters, but you still have regrets for your failures, even though, again, everything is futile. 

Despite the bleakness, the text is full of humor, irony, complex characters, and lively descriptions. Many of the poems have a strong sense of place, to the point where I practically feel like I’ve visited the small Canadian town where many of the poems are set. Not just visited, but lost my religion, moved into a trailer park, drank too much beer, squandered too many afternoons at the bowling alley, held any number of unsatisfying, underpaid jobs…

These are the stories Brianna brings to life in her poems. Reading them, you’re immediately present with her. It’s hard not to draw a comparison to the feeling you get from reading Bukowski. You just sat down on the couch to read some of his poems for ten minutes, but, after setting the book aside, you swear you just spent all afternoon at the horse races in LA.

In my mind, this is the highest compliment that can be given to a collection of poetry. It’s the one thing that separates a one-liner joke (or, worse, a stuffy, longwinded poem) from a true work of literature.


For more about Brianna, visit BriannaFerguson.com and follow her on Twitter @brianna_eff.

A Love Letter to the Rubik’s Cube

by Lane Chasek

 
 

Claude Shannon (a mathematician and cryptographer who pioneered the field of information theory) was never the type of guy I would pin as a poet, but, as it turns out, he was quite the diddy composer. Along with his work in information theory, Shannon was also a fan of the Rubik’s Cube, and even invented one of the first Rubik-solving machines. Shannon’s “Rubric on Rubik Cubics” is a love letter to his favorite puzzle. It also reads like the lyrics of a They Might Be Giants song. Below are (in my opinion) the best stanzas (along with my annotations):

 

Once puzzledom was laissez faire
With rebus, crosswords, solitaire.
Comes now the Rubik Magic Cube
For Ph.D. or country rube.
This fiendish clever engineer1
Entrapped the music of the sphere.
It's sphere on sphere in all 3D—
A kinematic symphony!

Forty-three quintillion plus
Problems Rubik posed for us.2
Numbers of this awesome kind
Boggle even Sagan’s mind.
Out with sex and violence,
In with calm intelligence.
Kubrick’s Clockwork Orange3— no!
Rubik’s Magic Cube — Jawohl!4

Respect your cube and keep it clean.
Lube your cube with Vaseline.
Beware the dreaded cubist’s thumb,5
The callused hand and fingers numb.
No borrower nor lender be.
Rude folks might switch two tabs on thee,
The most unkindest switch of all,
Into insolubility.6

The issue’s joined in steely grip:
Man’s mind against computer chip.
With theorems wrought by Conway’s eight
‘Gainst programs writ by Thistlethwait.7
Can multibillion-neuron brains
Beat multimegabit machines?8
The thrust of this theistic schism —
To ferret out God’s algorism!9


1Erno Rubik, inventor of the Cube, is actually an architect. But “architect” is a very hard word to rhyme.
2The “problems” Shannon refers to are the total number of configurations possible on a 3x3 Rubik’s Cube.
3Like many educated, conscientious men of his day, Shannon had terrible taste in cinema.
4German for “Yes, sir!”
5As an amateur cuber myself, I can attest to this. Do five minutes of finger stretches before an intense Rubik’s Cube session, and lubricate your swivel regularly.
6 If you switch two tiles (or stickers) on a Rubik’s Cube, the puzzle becomes unsolvable.
7 Both Conway and Thistlethwait studied the Cube mathematically and developed some of the first algorithms for solving it.
8Already, Shannon foresaw a Deep Blue-type situation in which humans would be outdone by their own cybernetic creations.
9A play on “God’s algorithm,” which refers to a hypothetical algorithm that would solve the Cube in the fewest moves possible. This is similar to “God’s number,” the maximum number of moves required to solve any Cube configuration (which happens to be 20).


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

Author Interview - Darlene Eliot

 

“Wait… What did I just read?”

This was my first thought after reading “The Stand-In,” a work of flash fiction by Darlene Eliot, which appears in the recent issue of Jokes Review. In general, I don’t particularly care what a story is about so long as the voice and the style are strong enough or unique in some way. Eliot’s story passed this test easily. I loved the humorous rage that came through on every line. But still—what was this story?

Then it struck me: it was a ghost story—obviously! But it wasn’t a typical ghost story. It subverted genre expectations in a strange and goofy way, and all to very humorous effect.

As it turns out, this is a trademark of Eliot’s work: playing with various genres elements to create something new. She describes her stories as “suburban tales,” and she has a wide range of artistic influences that have helped shape her particular style.

Here is our interview with Darlene Eliot, where we discuss her writing style, her influences, and more:

Peter Clarke: Jokes Review gets shockingly few submissions from people who live in the San Francisco Bay Area, even though we’re based here. It’s hard to escape the feeling that the Bay Area’s time as a literary hub might be over. What’s your experience being a Bay Area writer? Do you think it will ever again be known as a literary hub?  

Darlene Eliot: I’m a Southern California transplant who moved to the Bay Area just before the pandemic. Timing is everything, isn’t it? I’ve always romanticized the Bay Area, admired its literary history, its beauty, the ever-changing weather, and its ability to reinvent itself. With everything that’s occurred in recent years, another reinvention is about to happen, literary scene included. I’m excited to see it happen.

How would you describe your writing style?

My short stories are dark around the edges, sometimes speculative, sometimes dark-humored, sometimes creepy. Most are suburban tales with elements of dread, but I like to throw in some sweetness too because, contrary to popular belief, it still exists in the world.

You mention in your bio that you're inspired by film editors and composers. Can you explain how film editors and composers inspire you? Are there any particular film editors or composers you have in mind as inspirations?

I admire them because they join projects already in motion and have to revise things on the daily. It’s a huge challenge, along with the ups and downs of collaboration. I’m inspired by their ability to work in service of someone else’s vision. I doubt there are any egomaniacs in film editing especially because, when their work is at its best, it’s invisible.

My favorite film editors, past and present, are Thelma Schoonmaker, Dede Allen, Sally Menke, and Walter Murch. Sometimes I put their films on mute, watch how they cut the scenes, and think about how that applies to storytelling on the page. How would this sequence work better if I tried it a different way? The same with music in a scene. How does it enhance or subvert what’s happening between characters?

My favorite composers are Bernard Herrmann, Terence Blanchard, Michael Giacchino, Danny Elfman, Alexandre Desplat, Hans Zimmer, and of course, John Williams. I listen to their music while writing and sometimes to silence my inner critic. Music really does soothe the savage beast.

You’ve said in the past that you're a fan of cross-pollination between genres. What do you like about mixing genres? Do you have a favorite genre combo? Or any favorite writers who play with multiple genres?

I’m fascinated by hybrid writing and incorporating other forms to tell a story. It can be charts, ads, recipes, portions of poems, novels-in-flash, fictional obituaries. Gwendolyn Kiste’s “Sister Glitter Blood” gives the reader instructions on how to play a haunted board game. I love it when writers take a familiar premise, toss it in the air, reconfigure it, then take you on a ride you don’t expect.  

Your story “The Stand-In” is possibly the strangest ghost story I've ever read, totally subverting my expectations about how ghosts behave and interact with the world. What inspired this story and its unusual premise?

The story was inspired by a “what if” conversation with my partner. We were talking about movie depictions of the afterlife and people wanting departed loved ones to send them a sign. He said, if that was possible, he would want me to do it. I felt the opposite and said it would freak me out if he tried to communicate from the afterlife. He looked sad. It was only for a split second, but his reaction caught me off guard, especially because he knows how jumpy I am. I thought about it days later and also thought about the waiting room scene in “Beetlejuice,” which makes both of us laugh. I imagined the camera moving past the counter and into the back office and thought, What’s going on back here? and the story emerged.

What writers have influenced you the most? What are some specific ways you've been influenced by other writers (perhaps in terms of style, voice, writing routine...)?

Ray Bradbury, Shirley Jackson, Helen Oyeyemi, Neil Gaiman, and Sarah Hall.  Ray Bradbury and Neil Gaiman acknowledge the speculative darkness, but there is humor and playfulness mixed in with the menace and struggle. Shirley Jackson and Helen Oyeyemi introduce dread and haunted pasts into everyday circumstance. Sarah Hall’s stories of transformation have unexpected sensory details that make you squirm. All of them have mastered “things are not what they seem” and taken it a step further. 

Who’s an underrated modern novelist that you think more people should read?

Savage satirist Dawn Powell. When Fran Lebowitz, with a collection of over 10,000 books, recommends an author, you listen.

What is the last great short story you read?

It’s hard to narrow it down. There are three that come to mind. “On the Sudden Appearance of Many Large Invisible Floating Spikes” by Aidan O’Brien,  “Oreo Arroyo” by Vanessa Hua, and one I return to often because it reminds me of my family background and also feels like a metaphor for writing, “Fern Gully” by Jonathan Escoffery. Completely different styles. All thought-provoking and wonderful. 

What projects are you working on now?

A collection of short stories, notes for a novella, and trying not to be so jumpy. 


For more about Darlene, visit DarleneEliot.com and follow her on Twitter @deliotwriter.

 
 
 

Brent Spiner’s Autobiographical Fanfiction Noir…Thing

 

by Lane Chasek

 

Brent Spiner’s literary debut, Fan Fiction: a Mem-Noir: Inspired by True Events, is one of the most baffling books I’ve read this past year. Is it a memoir? A mystery novel? A parody of fanfictions? Turns out, it’s all three. In addition, Fan Fiction holds the title for most postmodern book written by a Star Trek alum (so far). Brent Spiner (known to most as Lt. Commander Data of the USS Enterprise) pushes the celebrity memoir genre in a bizarre new direction, one which combines fact, fiction, and fandom into a bloody, campy, nerdy potpourri. 

Fan Fiction begins with a brief chapter describing Spiner’s start in acting—his flight from Texas, his failed attempts to make it big in New York, and how he eventually landed the role of everyone’s favorite emotionless android with a heart of iridium-gold alloy, Data. This first chapter is the only part of the book that’s 100% factual. What follows is a Hollywood noir worthy of Tarantino. Spiner discovers a severed pig’s penis and a threatening letter while on the set of Star Trek: The Next Generation, sent to him by a psychotic superfan who wishes to take his life. Spiner, with the aid of a ravishingly beautiful FBI agent and her equally ravishingly beautiful twin sister who acts as his bodyguard, must uncover the identity of this would-be killer before it’s too late. Other Next Generation cast members play bit roles in the plot, providing plenty of trivia and fan service to the Trekkers and Trekkies who will inevitably read this title.

Making use of real places and real people from his life, Fan Fiction is just that: a fanfiction about Brent Spiner’s acting career by Brent Spiner. Though Spiner casts himself in the leading role, he’s far from the Mary Sue you’d expect from a typical fanfiction. Neurotic, paranoid, terrible with the ladies, haunted by memories of a wicked stepfather—though Spiner is a television star living in Hollywood, he’s still very much the awkward, nerdy kid who got bullied in Hebrew school back in Houston. And whereas the android he plays on Next Gen would have deduced the identity of Spiner’s stalker in a single forty-minute episode, Spiner is as inept as any average joe would be if placed in this situation. He flaunts his flaws, insecurities, medical ailments, and love for Laurel and Hardy shamelessly, and he succeeds in turning himself into a likable, realistic protagonist. 

Though not the most well-written book by a Star Trek cast member, Spiner succeeds in telling a story about celebrity, fandom, and the blurred lines between reality and fiction which, despite its occasional awkwardness, is a fun experiment in genre hybridization. Most celebrity memoirs tend to play it safe—and bland. Spiner created something with a lot more flavor.

My favorite quote from the book:

“Her lifeless body collapses onto my chest like an overstuffed sack of fan mail.”


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

E. M. Cioran on Writing, Literature, and (Nonsuicidal) Ideas

 
 

E.M. Cioran is possibly the world’s most pessimistic philosopher. He’s a big fan of suicide, for example, except for that fact that, as he writes, “It is not worth the bother of killing yourself, since you always kill yourself too late.”

What’s funny about Cioran is that he’s so over-the-top with his pessimism that his writing becomes life-affirming and even humorous. Reading him, you almost have to remind yourself that he’s a serious nihilist philosopher, not a progeny of Oscar Wilde.

Fortunately, his witticisms aren’t reserved entirely for the topic of suicide. He also shares quite a few enlightening thoughts about writing and the creative process. Here are a number of his aphorisms from his otherwise entirely bleak (and hilarious!) book The Trouble With Being Born.


 
Write books only if you are going to say in them the things you would never dare confide to anyone.

§

Once we reject lyricism, to blacken a page becomes an ordeal: what’s the use of writing in order to say exactly what we had to say?

§

If only we could reach back before the concept, could write on a level of the senses, record the infinitesimal variations of what we touch, do what a reptile would do if it were to set about writing!

§

A minimum of silliness is essential to everything. 

§

We say: he has no talent, only tone. But tone is precisely what cannot be invented—we’re born with it. Tone is an inherited grace, the privilege some of us have of making our organic pulsations felt—tone is more than talent it is its essence.

§

Ideas come as you walk, Nietzsche said. Walking dissipates thoughts, Shankara taught.
Both of these are equally well-founded, hence equally true, as each of us can discover for himself in the space of an hour, sometimes of a minute… 

§

There is nothing to say about anything. So there can be no limit to the number of books.

§

The greatest favor we can do an author is to forbid him to work during a certain period. Short-term tyrannies are necessary—prohibitions which should suspend all intellectual activity. Uninterrupted freedom of expression exposes talent to a deadly danger, forces it beyond its means and keeps it from stockpiling sensations and experiences. Unlimited freedom is a crime against the mind.

Peter Clarke is the editor-in-chief of Jokes Review. He’s the author of the comic novels Politicians Are Superheroes and The Singularity Survival Guide. Follow him on Twitter @HeyPeterClarke.

Fan Wikis as an Artform

by Lane Chasek

 
Fan Wikis as an Artform
 

Poet Kenneth Goldsmith once called archiving the folk art of the digital age. Whether it’s in the form of a Spotify playlist or a portable hard drive filled with Rule34, archiving is a creative act which allows regular people (i.e., people who don’t attach words like “artist” or “auteur” to their name) to express their tastes and sensibilities using the raw materials of cyberspace. As Goldsmith writes, “Like quilting, archiving employs the obsessive stitching together of many small found pieces into a larger vision, a personal attempt at ordering a chaotic world.” 

And while Goldsmith makes no mention of Wikis, I think the plethora of fan Wikis that populate the Internet today count as a form of folk art. Movies, cartoons, video games, book series, soft drinks—almost every intellectual property has a fandom, and almost every fandom has a Wiki. These Wikis are more than amateur encyclopedias—they’re a testament to the obsessiveness of 21st-century culture.

I’m a bit ashamed to admit how much time I’ve spent poring over Wikis for Mountain Dew, Star Trek, Digimon, The Wizard of Oz, etc. Reading Wikis for hours on end may sound pointless and downright torturous (even the best Wikis are plagued with spelling mistakes, grammatical errors, and tediously written diatribes about minutiae only the most die-hard of fans would care about) but every fan Wiki showcases the dedication and eccentricity of their respective fandoms, and for that I salute them.

Take, for example, this article for the character Blu from the animated film series Rio. Rio is a fun family flick, but it’s not what I’d call complex. The plot, characters, morals—they’re all simple, since it’s a movie made for children. But the article’s author writes about Blu in such exhaustive detail that you’d think they were writing about King Lear or the history of Constantinople. The article’s trivia section (word count: approx. 1600) tells you anything you’d ever want to know about this feathered fella, from his dislike of Brazil nuts to his interactions with every character in the film, no matter how brief or inconsequential. 

But my favorite part is the Quotes section. Usually, a Quotes section will contain a character’s most notable pieces of dialogue, but this article includes every word Blu has ever uttered in every piece of Rio media ever made, from the films to the junior novels. This Quotes section clocks in at an intimidating 4,600 words. The author probably spent hours consuming and re-consuming every piece of Rio media, meticulously transcribing each scene. Reading this article is both unnerving and heartening—unnerving because of the author’s mania for a blue CGI parrot, and heartening because of the author’s obvious love for the franchise, no matter how unhealthy that love may be.  

A lot of people wouldn’t call an article like this art, but I disagree. If Marcel Duchamp could scribble his name on a urinal and call it art, and if Kenneth Goldsmith can turn a database of traffic reports into a poetry collection, then why can’t this article be art? We live in a fragmented, obsessive, information-saturated world. Wikis (especially the weird ones) capture this ethos better than any other form of media I know of. The amount of time and dedication it takes to create an article like this (or any Wiki article, really) demonstrates a level of sincerity which I think is severely lacking in the realm of arts and letters today. Whenever “fine” or “serious” art finds itself stagnating or wallowing in its own cynicism (people who call themselves “artists” or “auteurs” have a nasty habit of doing this), it’s usually the role of folk art and outsider art to freshen things up and dig us out. 


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

Why Marilyn Monroe Should Have Married Henry Miller

or: Dan Bern, Lyrical Genius

by Peter Clarke

 
 

Dan Bern hasn’t gotten much mainstream recognition for his lyrics, but there’s no doubt he’s a lyrical genius. Bern is one of those musicians where, if you know his songs, you very likely find yourself quoting from them. I haven’t listened to Dan Bern regularly for almost a decade, yet I still find his lyrics popping into my head at least once a week. Some of his lines I’ve eternalized to the point where they’ve colored my view of the world.

If a songwriter has written lines you can’t help but reference as you go about your day, that, to me, is the ultimate mark of a great songwriter. It might even be the ultimate goal of songs: to give us reference points for viewing the world more deeply, or at least differently.

When you see a harvest moon, you hear Neil Young. When someone says, “Money doesn’t grow on trees,” you think of Kendrick Lamar’s money trees. When you see a girl wearing a jacket that’s too long for her short skirt, you hear Cake. If you ever happen to be sitting in a park in Paris, France, you hear Joni Mitchell.  

Dan Bern has more than his fair share of these: phrases he now owns—at least from the perspective of people who know his songs. These phrases span the gamut from absurd to insightful. Even out of context, they’re enjoyable:

“Marilyn Monroe should have married Henry Miller.”
This line plays in my head every time I see a picture of Marilyn. As Bern explains in “Marilyn”: “This is not a knock against Arthur Miller / Death of a Salesman is my favorite play / But Marilyn Monroe should’ve married Henry Miller / And if she did she might be alive.”

“She believed collage was the greatest of all the arts.”
This line, from the rambling, irreverent ballad “Estelle,” has played in my mind so often—hitting me nearly every time I see a collage—that I’ve basically been “talked into” believe the sentiment: that collage is the greatest of all the arts. I recently wrote an essay arguing for this view.

“At the bottom of the ocean, you might find a pearl / Don’t let your heart get broken by this world.”
These lines, from “Albuquerque Lullaby,” are useful one to quote when someone is having a bad day. The lines are so perfectly melodramatic but also so true that it’s hard not to smile after saying them out loud (or thinking them to yourself).  

“I’m always looking for the perfect jacket or a million dollars / Is it only me who goes through life this way?”
This, from “Feel Like a Man,” speaks for itself.

“Everyone was lonely”
…is a line he sings on “Wasteland” after dozens of lines accurately describing life in Los Angeles. After you listen to “Wasteland,” you can’t help but to hear this song in your mind as you drive into LA.

“Give me my goddamn Jack Kramer wood fucking racket.”
This is from “Jack Kramer Wood Racket,” a song—like “Marilyn”—that was clearly written as a gag but ended up being a crowd favorite. This line might only truly connect with Boomer tennis players, but it’s also applicable anytime you’re using some new, fancy gadget when all you really want is the dumbed-down original. 

These lyrics are just a few examples. There are plenty more. No doubt every Dan Bern fan has their own particular lines or phrases they find meaningful. But I’m sure we can all agree that Marilyn Monroe should have married Henry Miller. Not that it really matters, but if you’re unconvinced, here’s Dan Bern in a Marilyn wig making his case:

 

Peter Clarke is the editor-in-chief of Jokes Review. He’s the author of the comic novels Politicians Are Superheroes and The Singularity Survival Guide. Follow him on Twitter @HeyPeterClarke.

Gore Vidal's Ridiculous Author Bio

 

by Lane Chasek

 

I’ve been thinking a lot about author bios recently. Specifically, what not to do when writing one.

The ideal author bio should be informative without overstaying its welcome, which is why I think 100-150 words is the perfect length for one. Anything past 150 words feels superfluous and (let’s be real) braggadocious. 

Which is why I’m so fascinated by Gore Vidal’s bio at the end of his 1984 novel Lincoln. This bio is nearly 400 words long and includes so much humble-bragging and needless detail that it may be the greatest bad author bio ever published.

Take a look at this first section: 

GORE VIDAL wrote his first novel, Williwaw (1946), at the age of nineteen while overseas in World War II.

During four decades as a writer, Vidal has written novels, plays, short stories and essays. He has also been a political activist. As a Democratic candidate for Congress from upstate New York, he received the most votes of any Democrat in a half century. From 1970 to 1972 he was co-chairman of the People’s Party. In California’s 1982 Democratic primary for U.S. Senate, he polled a half million votes, and came in second in a field of nine.

On the surface, that all sounds pretty impressive. Until you realize that Vidal came from an aristocratic political family (fun fact: Vidal’s grandfather was a wealthy U.S. Senator who helped found the state of Oklahoma). Of course he was going to publish a novel when he was super young. But what baffles me is that, despite losing elections and never snagging a seat in Congress, he still felt the need to brag about a political career that went nowhere. He didn’t win, so what’s there to brag about?

In 1948 Vidal wrote the highly praised international best seller The City and the Pillar. This was followed by The Judgment of Paris and the prophetic Messiah. In the fifties Vidal wrote plays for live television and films for Metro-Goldwyn-Mayer. One of the television plays became the successful Broadway play Visit to a Small Planet (1957). Directly for the theater he wrote the prize-winning hit The Best Man (1960).

In 1964 Vidal returned to the novel. In succession, he created three remarkable works: Julian, Washington, D.C., Myra Breckinridge. Each was a number-one best seller in the United States and England. In 1973 Vidal published his most popular novel, Burr, as well as a volume of collected essays, Homage to Daniel Shays. In 1976 he published yet another number-one best seller, 1876, a part of his on-going American chronicle, which now consists of—in chronological order—Burr, Lincoln, 1876, Empire, Hollywood, and Washington, D.C.

This section alone could have served as an okay author bio. Vidal’s a writer and here’s what he’s written. Simple as that. But this final paragraph takes a turn for the absurd.

In 1981 Vidal published Creation, “his best novel,” according to the New York Times. In 1982 Vidal won the America Book Critics Circle Award for criticism for his collection of essays, The Second American Revolution. A propos Duluth (1983), Italo Calvino wrote (La Repubblica, Rome): “Vidal’s development ... along that line from Myra Breckinridge to Duluth is crowned with great success, not only for the density of comic effects, each one filled with meaning, not only for the craftsmanship in construction, put together like a clockwork which fears no word processor, but because this latest book holds its own built-in theory, that which the author calls his “après-poststructuralism.” I consider Vidal to be a master of that new form which is taking shape in world literature and which we may call the hyper-novel or the novel elevated to the square or to the cube.”

A quote that long would work best as a blurb, but honestly, I have no idea what Calvino is trying to say here or why Vidal liked this review enough to excerpt it. It’s almost entirely nonsense. What does “a clockwork which fears no word processor” even mean? And what’s this about “the novel elevated to the square or to the cube”? Is there some mathematical element to novels I wasn’t aware of? Have I been reading linear novels this whole time when I could have been enjoying square, cubic, or hypercubic novels? What about fractal and logarithmic novels? 

Sometimes it’s hard to figure out what you should include in your own author bio, but really, it’s best to keep things simple. Your books, where you’ve been published, maybe your day job or alma mater, etc. Whatever you come up with, it won’t be nearly as ridiculous as Gore Vidal’s.


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.