Newsflash: It's O.K. to Take Candy from Strangers

More evidence that Americans increasingly live in a climate of fear of their own making.

In the 1960s and 1970s, the tradition of Halloween trick-or-treating came under attack. Rumors circulated about Halloween sadists who put razor blades in apples and booby-trapped pieces of candy. The rumors affected the Halloween tradition nationwide. Parents carefully examined their children's candy bags. Schools opened their doors at night so that kids could trick-or-treat in a safe environment. Hospitals volunteered to X-ray candy bags.

In 1985, an ABC News poll showed that 60 percent of parents worried that their children might be victimized. To this day, many parents warn their children not to eat any snacks that aren't prepackaged. This is a sad story: a family holiday sullied by bad people who, inexplicably, wish to harm children. But in 1985 the story took a strange twist. Researchers discovered something shocking about the candy-tampering epidemic: It was a myth.

The researchers, sociologists Joel Best and Gerald Horiuchi, studied every reported Halloween incident since 1958. They found no instances where strangers caused children life-threatening harm on Halloween by tampering with their candy.

Two children did die on Halloween, but their deaths weren't caused by strangers. A five-year-old boy found his uncle's heroin stash and overdosed. His relatives initially tried to cover their tracks by sprinkling heroin on his candy. In another case, a father, hoping to collect on an insurance settlement, caused the death of his own son by contaminating his candy with cyanide.

In other words, the best social science evidence reveals that taking candy from strangers is perfectly okay. It's your family you should worry about.

--From pp. 13-14 of Chip Heath & Dan Heath's Made to Stick: Why Some Ideas Survive and Others Die.

Jonathan Coe on the Illusory Nature of Banking

Banking, as he once told a television interviewer, had become the most spiritual of all professions. He would quote his favourite statistic: one thousand billion dollars of trading took place on the world's financial markets every day. Since every transaction involved a two-way deal, this meant that five hundred billion dollars would be changing hands. Did the interviewer know how much of that money derived from real, tangible trade in goods and services? A fraction: 10 per cent, maybe less. The rest was all commissions, interest, fees, swaps, futures, options: it was no longer even paper money. It could scarcely be said to exist. In that case (countered the interviewer) surely the whole system was nothing but a castle built on sand. Perhaps, agreed Thomas, smiling: but what a glorious castle it was ...

--From p. 310 of Jonathan Coe's The Winshaw Legacy: or What a Carve Up!

Stop Being a Workaholic? Naah - It's Too Much Work

... Tony decided to attend a Workaholics Anonymous meeting in New York City, near his home ... When he got to the meeting, there were four other people gathered around a table in a church basement. It turned out that the group's size hadn't increased significantly since its founding a decade ago ... [As] Tony was leaving, one of the participants approached him. "Welcome to the French Resistance," the man said with a sly smile. "There are five million workaholics in New York, and you've just met the only four who are in recovery."

--From pp. 40-41 of The Power of Full Engagement, by Jim Loehr and Tony Schwartz.

Why Human Ingenuity May Not Be Enough this Time

A hopeful public, including leaders in business and politics, views the growing problem of oil depletion as a very straightforward engineering problem of exactly the kind that technology and human ingenuity have so successfully solved before, and it therefore seems reasonable to assume that the combination will prevail again. There are, however, several defects in this belief.

One is that we tend to confuse and conflate energy and technology. They go hand in hand but they are not the same thing. The oil endowment was an extraordinary and singular occurrence of geology, allowing us to use the stored energy of millions of years of sunlight. Once it's gone it will be gone forever. Technology is just the hardware and programming for running that fuel, but not the fuel itself. And technology is still bound to the laws of physics and thermodynamics, which both say you can't get something for nothing, and there is no such thing as perpetual motion. All of this is to say that much of our existing technology simply won't work without petroleum, and without the petroleum "platform" to work off, we may lack the tools to get beyond the current level of fossil-fuel based technology. Another way of putting it is that we have an extremely narrow window of opportunity to make that happen.

--From pp. 101-2 of James Howard Kunstler's The Long Emergency: Surviving the End of Oil, Climate Change, and Other Converging Catastrophes of the Twenty-First Century.

V.S. Naipaul Seeks Out Erotic Carvings

I went to the Nepalese Temple, 'disfigured', Murray's Handbook said, by 'erotic carvings; they do not catch the eye, provided that the attendant can be discouraged from pointing them out'. The attendant was a youth with a long switch; I begged him to point them out. 'Here man and woman,' he began unexcitedly. 'Here other man. He Mr. Hurry-up because he say, "Hurry up, hurry up.'" Tourist lore: the gloss did not please me. The pleasures of erotic art are fragile; I wished I had followed Murray's advice.

--From pp. 266-7 of V. S. Naipaul's An Area of Darkness: A Discovery of India.

V.S. Naipaul Appreciates an Exquisite but Often-Unrecognized Skill

Appreciation of different kinds of intelligence -- or, more accurately, different ways of expressing it -- is not common. As a writer myself, I used to judge people's smarts based on their verbal ability. It took me many years to dimly grasp how wrong and foolish this was, as I think Naipaul demonstrates below. (I'm not sure he's entirely serious, actually, but I'd prefer to think he means it.)

[Aziz] seemed to be so many persons. It was especially interesting to watch him at work on our friends, to see applied to others that process of assessment through service to which, in the early days, we ourselves had been subjected. They had servants of their own: nothing bound Aziz to them. Yet he was already taking possession of them; and already he was binding them to himself. He had nothing to gain; he was only obeying an instinct. He could not read or write. People were his material, his profession and no doubt his diversion; his world was made up of these encounters and managed relationships. His responses were acute ... He had picked up his English by ear; he therefore avoided Indian eye-pronunciations and spoke the words he knew with a better accent than many college-educated Indians. Even his errors ... showed a grasp of a language only occasionally heard; and it was astonishing to hear a word or phrase I had used coming back, days later, with my very intonations. Would he have gone far if he had learned to read or write? Wasn't it his illiteracy which sharpened his perception? He was a handler of people ... To us illiteracy is like a missing sense. But to the intelligent illiterate in a simpler world mightn't literacy be an irrelevance, a dissipation of sensibility, the mercenary skill of the scribe?

--From p. 162 of V. S. Naipaul's An Area of Darkness: A Discovery of India.

V.S. Naipaul Reveals Why Domestic Staff in 19th-Century Novels are so Uppity

Anyone who has ever had to supervise others in the workplace will recognize what Naipaul describes below.

On that small island I had become involved with them all, and with none more so than Aziz. It was an involvement which had taken me by surprise. Up to this time, a servant, to me, had been someone who did a job, took his money and went off to his own concerns. But Aziz's work was his life. A childless wife existed somewhere in the lake, but he seldom spoke of her and never appeared to visit her. Service was his world. It was his craft, his trade; it transcended the formalities of uniform and deferential manners; and it was the source of his power. I had read of the extraordinary control of eighteenth-century servants in Europe; I had been puzzled by the insolence of Russian servants in novels like Dead Souls and Oblomov; in India I had seen mistress and manservant engage in arguments as passionate, as seemingly irreparable and as quickly forgotten as the arguments between husband and wife. Now I began to understand. To possess a personal servant, whose skill is to please, who has no function beyond that of service, is painlessly to surrender part of oneself. It creates dependence where none existed; it requires requital; and it can reduce one to infantilism. I became as alert to Aziz's moods as he had been to mine. He had the power to infuriate me; his glumness could spoil a morning for me. I was quick to see disloyalty and diminishing attentions. Then I sulked; then, depending on his mood, he bade me good-night through a messenger or he didn't bid me good-night at all; and in the morning we started afresh. We quarrelled silently about guests of whom I disapproved. We quarrelled openly when I felt that his references to increasing food prices were leading up to a demand for more money. I wished, above all, to be sure of his loyalty. And this was impossible, for I was not his employer. So in my relations with him, I alternated between bullying and bribing; and he handled both.

--From pp. 120-121 of V. S. Naipaul's An Area of Darkness: A Discovery of India.

On V.S. Naipaul on the Importance of Being an Outsider

One thing I forgot to add to my previous post on this topic: Naipaul's upbringing -- as an outsider in Trinidad, and later as an outsider in England -- was a prerequisite for developing his superb eye for detail and limning the outlines of cultures he's only visited.

Perhaps that's so obvious it could've gone unsaid. Well ... too late, now!

V.S. Naipaul on the Importance of Being an Outsider

When I've talked with other white people about racism in America, they've often said they think it's largely a thing of the past. What they (like myself, until fairly recently) often don't understand is that being black or brown in a predominantly white community changes the way others react to you in usually subtle, but constant ways, and you feel differently about yourself as a result. I'm sure the same thing happens if you're white and you live in a community that is predominantly of color: you stand out, and other people make you feel it. (And your attitude toward your own difference also contributes.) In any case, constant awareness of one's difference from the surrounding community has an up side. Here's V.S. Naipaul -- born in Trinidad, whose grandfather came from India -- on the topic, describing what it was like for him to go to India for the first time and lose his sense of difference:

And or the first time in my life, I was one of the crowd. There was nothing in my appearance or dress to distinguish me from the crowd eternally hurrying into Churchgate Station. In Trinidad to be an Indian was to be distinctive. To be anything there was distinctive; difference was each man's attribute. To be an Indian in England was distinctive; in Egypt it was more so. Now in Bombay I entered a shop or a restaurant and awaited a special quality of response. And there was nothing. It was like being denied part of my reality. Again and again I was caught. I was faceless. I might sink without a trace into that Indian crowd. I had been made by Trinidad and England; recognition of my difference was necessary to me. I felt the need to impose myself, and didn't know how.

--From p. 39 of V. S. Naipaul's An Area of Darkness: A Discovery of India.

Michael Crichton on the Need for Editors

Strange to say this about anything by Crichton, but a truer word was never said:

... I'll tell you, I think every writer should have tattooed backwards on his forehead, like AMBULANCE on ambulances, the words everybody needs an editor.

--From p. 346 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Rebecca West on Getting Something on One's Mother-in-Law

WEST: I won't say I'm interested in spies, but they do turn up in my life in quite funny ways. There was a man called Sidney Reilly, who was a famous spy, a double agent. My mother-in-law was very upset because my husband married me instead of the daughter of a civil servant. My husband's mother thought she was a nice Catholic girl, who'd be so nice for my husband, and it always tickled me because it gradually emerged that this girl was the mistress of this very famous and disreputable spy. It was a wonderful thing to have in your pocket against your mother-in-law.

--From p. 268 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Rebecca West Trashes T.S. Eliot, Somerset Maugham, and The New Yorker

I love it when a writer expresses a strong opinion about a colleague. You don't see it much now.

INTERVIEWER: Are you interested in T.S. Eliot's writing?

[REBECCA] WEST: Goodness! T. S. Eliot, whom I didn't like a bit? He was a poseur. He was married to this woman who was very pretty. My husband and I were asked to see them, and my husband roamed around the flat and there were endless photographs of T.S. Eliot and bits of his poetry done in embroidery by pious American ladies, and only one picture of his wife, and that was when she was getting married. Henry pointed it out to me and said, I don't think I like that man.

INTERVIEWER: What about the work of Somerset Maugham, whom you also knew?

WEST: He couldn't write for toffee, bless his heart. He wrote conventional short stories, much inferior to the work of other people. But they were much better than his plays, which were too frightful. He was an extremely interesting man, though, not a bit clever or cold or cynical.

[...]

INTERVIEWER: Have you ever had a close relationship with an editor, who has helped you after the books were written?

WEST: No. I never met anybody with whom I could have discussed books before or after... And I very rarely found The New Yorker editors any good.

INTERVIEWER: They have a tremendous reputation.

WEST: I don't know why.

--From pp. 259 and 261 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

V.S. Naipaul on Experiencing Wilderness

I've never seen anyone talk so eloquently -- and so precisely -- about what it's like to visit the mountains.

The Himalayan summer was short, its weather treacherous. Every exploration, like every pilgrimage even today, had to be swift ... Beyond the Amarnath Cave was the mountain of Kailas and beyond that the lake of Manasarovar. And legends attached to every stage of the Amarnath pilgrimage. These rocks were what remained of defeated demons; out of that lake Lord Vishnu arose on the back of a thousand-headed serpent; on this plain Lord Shiva once did the cosmic dance of destruction and his locks, becoming undone, created these five streams: wonders revealed only for a few months each year before disappearing again below the other, encompassing mystery of snow. And these mountains, lakes and streams were indeed apt for legend. Even while they were about you they had only a qualified reality. They could never become familiar; what was seen was not their truth; they were only temporarily unveiled. They might be subject to minute man-made disturbances -- a stone dislodged into a stream, a path churned to dust, skirting snow -- but as soon as, on that hurried return journey, they had been left behind they became remote again.

--From p. 165 of V. S. Naipaul's An Area of Darkness: A Discovery of India.

Wodehouse Updated via Kyril Bonfiglioli, circa 1972

I don't trust a book review that compares an author to P.G. Wodehouse: it's never apt. For example, Paul Murray's An Evening of Long Goodbyes. Sure, the narrator's British and he's featherheaded and feckless, but that book is so freighted with sadness that it's a ridiculous comparison. But recently I stumbled on a book that was described by a reader as "Like Wodehouse on acid," and for once, the comparison is dead-on.

Item:

He greeted me with his usual surliness: dealers in illegal firearms almost never smile, you must have noticed that. [p. 47]

Item:

(I yield to none when it comes to eyebrow-raising; I was taught by my father himself, who could have eyebrow-raised for Great Britain had he not been so haughty.) [p. 105]

Item - our narrator is speaking figuratively of a verbal skirmish he has just lost:

'Thank you, yes,' he replied. My attack was wiped out. I felt just like an infantry subaltern who has thrown away a platoon against a machine-gun emplacement he forgot to mark on his map. (Listening to the Colonel's remarks afterwards is not nearly so unpleasant as sitting down to write twenty letters to next-of-kin while the people in the Orderly Room pretend you're not there. The worst bit is when your batman brings you your dinner to the foxhole or bivvy-tent, saying 'Thought you might be too tired to dine in the Mess tonight. Sir.' But I reminisce.) [p. 131]

Item:

The clerk droned legally for a while; Jaggard put on a joke-policeman voice while he read bits from his notebook about how he had proceeded from here to there on information received ... but I must not trouble you with such minutiae: I am sure you have been in magistrates' courts yourselves. [p. 165]

Item (in which our hero is on the losing end of a shoot-out in a factory that butchers pigs):

Had I been a religious man I should probably have offered up a brisk prayer or two, but I am proud, you see: I mean, I never praised Him when I was knee-deep in gravy so it would have seemed shabby to apply for help from a bacon-factory. [p. 178]

From Kyril Bonfiglioli's1972 After You with the Pistol.

Rebecca West on War

Rebecca West: ... I think the Second World War was much more comfortable because in the First World War the position of women was so terrible, because there you were, not in danger. Men were going out and getting killed for you and you'd much prefer they weren't ... It was very curious, you see. There I sat on my balcony in Leigh-on-Sea and heard guns going in France. It was a most peculiar war. It was really better, in the Second World War, when the people at home got bombed. I found it a relief. You were taking your chance and you might be killed and you weren't in that pampered sort of unnatural state ...

Interviewer: And yet a [conscripted] army, as fought in Vietnam -- you laugh?

Rebecca West: Well, I can't help thinking that the whole of the Vietnam War was the blackest comedy that ever was, because it showed the way you can't teach humanity anything. We'd all learned in the rest of the world that you can't now go round and put out your hand and, across seas, exercise power; but the poor Americans had not learned that and they tried to do it.

--From p. 242 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Rebecca West Does Ian McEwan Justice

I've never understood why people revere Ian McEwan's novels. How gratifying, then, to come across this 1981 interview with Rebecca West, in which she skewers his novel, The Cement Garden:

Rebecca West: ... I do think modern novels are boring on the whole. Somebody told me I ought to read a wonderful thing about how a family of children buried Mum in a cellar under concrete and she began to smell. But that's the sole point of the story. Mum just smells. That's all that happens. It's not enough.

Interviewer: This is a new Ian McEwan, isn't it?

--From pp. 261-2 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Hemingway's Metaphorical Advice for New Writers

Interviewer: What would you consider the best intellectual training for the would-be writer?

Ernest Hemingway: Let's say that he should go out and hang himself because he finds that writing well is impossibly difficult. Then he should be cut down without mercy and forced by his own self to write as well as he can for the rest of his life. At least he will have the story of the hanging to commence with.

--From p. 42 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Truman Capote Digresses Spectacularly

... I despised school -- or schools, for I was always changing from one to another -- and year after year failed the simplest subjects out of loathing and boredom. I played hooky at least twice a week and was always running away from home. Once I ran away with a friend who lived across the street -- a girl much older than myself who in later life achieved a certain fame. Because she murdered a half-dozen people and was electrocuted at Sing Sing. Someone wrote a book about her. They called her the Lonely Hearts Killer. But there, I'm wandering again ...

--From pp. 21-22 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

Truman Capote on Finding the Shape of a Story

The test of whether or not a writer has divined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final.

--From p. 21 of The Paris Review Interviews, Vol. 1.(Philip Gourevitch, ed.)

M.T. Anderson on the Tedium of Knocking Out Goons

Larry advanced menacingly toward them. There was a big fight. Most of the goons were knocked out or in some kind of disarray.

That sounds sloppy. But please. Take my word for it; they were out of the picture, okay? I could describe the whole tedious fight. I could work it out numerically and mathematically, but goons -- and hand-to-hand combat with goons; anything to do with goons --it all really bores me to the point of weeping. Their equipment, their martial arts training, their love of dried flowers, their fondness for sports bars ... I am not goon friendly. Bing, bang, biff. Clocked on the jaw; hip check; knee to the nose; leap out of the way so two of them run into each other; swing; pow; knuckle sandwich. Let's just assume that they're all knocked out.

--From pp. 174-175 of M. T. Anderson's Whales on Stilts!