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Late Last Night Books

because so much reading, writing, and living happens after-hours

Late Last
Night Books
because so much reading, writing, and living happens after-hours
Since 2013
Gary Garth McCann, founder and managing editor
an ad-free magazine about fiction by authors Terra Ziporyn * Sally Whitney * Eileen Haavik McIntire * Gary Garth McCann * Peter G. Pollak * Garry Craig Powell * Jenny Yacovissi * Lily Iona MacKenzie * Todd S. Garth * Daniel Oliver
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Author Archives: Todd S. Garth

So You Don’t Like That Character—So What?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

14 MAY 2022 So You Don’t Like That Character—So What?

Lately I’ve been reading books with unsympathetic characters. This is not a new habit, but since finishing the draft of a novel whose characters are imperfect but, I hope, likeable on the whole, I’ve been thinking more about what makes a character likeable, and what the difference is between likeable and admirable. Fiction (to say nothing of history) is full of protagonists we might not like but can still respect and admire. Heroes whose achievements we celebrate but whom, given the chance to sit down and have a beer with, we’d just as soon avoid.

I’m not thinking either of the truly reprehensible—antiheroes like the talented Mr. Ripley. Though I must say that Patricia Highsmith’s ability to make a reader care about a serial murderer deserves admiration in itself.

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Not Just Our America

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

18 FEBRUARY 2022 Not Just Our America

Here’s another really incise comment from my friend, Luis Othoniel Rosa, whose words have been featured before on LLNB (Spanish-to-English translation by me, so if any of it is less than clear, it’s my fault):

“One of the great essays of Latin American criticism is titled, ‘Our America: The Art of Good Governance;’ it a marvelous close reading of (Cuban writer and patriot) José Martí by (cultural critic) Julio Ramos. Immediately upon contextualizing the brutal critique by Martí of the intellectuals of his time and of the global project to modernize, Ramos tells us that many decades ago, Martí constructed a new authority by means of the form and style of his writing: literature. Literature, according to this legitimizing strategy, was the discourse that could yet represent origin, the autochthonous, and all those margins that rationalizing languages, emblems of modernization, could not represent.

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All Books Aren’t Blue, or The Books Themselves Should Have Standing

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

2 FEBRUARY 2022 All Books Aren’t Blue, or The Books Themselves Should Have Standing

Normally I’m not too interested in entering political debates over literature and culture. Suffice it to say that most literary scholars are firmly left of liberal and that I usually agree with their politics; but when it comes to discussing cultural theory and interpretation, I’m often the conservative in the room. More on that some other day. Maybe.

I’m also not too interested in young adult literature. I don’t have children, and Harry Potter, for some reason, just doesn’t speak to me. My idea of great writing for young people runs from Shirley Jackson’s psycho-horror to Uruguayan Horacio Quiroga’s brutally naturalist tales. (His most famous, “Juan Darién,” portrays a boy changed to a tiger who is literally hunted down, tortured and left for dead by the rural community that fears him.)

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Literary Translation Today—A Lament, a Shout-Out, and a Totally Random Guide

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

17 JANUARY 2022 Literary Translation Today—A Lament, a Shout-Out, and a Totally Random Guide

What gets translated into English by whom is an occasional but painful topic among writers, readers and scholars of foreign literatures. The answer is consistently and increasingly, “not much, and mostly writers that are already best sellers.”

The problem is emblematic of the American market, which is shrinking for fiction in general and almost nonexistent for foreign fiction (proof that American isolationism is still a thing), but which can be a gold mine for that very rare foreign thriller or Nobel Prize winner. Milan Kundera and Orhan Pamuk will have contracts for English translations even before their next novel is published in Czech or Turkish; By contrast, Paula Maia, the award-winning writer from São Paulo, Brazil, has published ten books, only one of which has been translated into English– Saga of Brutes, a triptych published in 2010 and translated six years later.

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What Does It Mean to Be Disruptive in Literature Today?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

18 NOVEMBER 2021 What Does It Mean to Be Disruptive in Literature Today?

The following is an imperfect translation of a commentary by Luis Othoniel Rosa, writer, poet, anarchist and scholar who, among other things, teaches Latin American literary studies at the University of Nebraska. Luis’s original text in Spanish follows my translation.

What Does It Mean Today to Be Disruptive in Literature?

It means to affirm and to stop making ourselves of interest. Being disruptive in literature today would be to put an end to the era of questions and paradoxes, of undecipherable allegories and of the “writing of the self,” where the children of the white middle class write novels and poems about the silly traumas of their insipid lives. Being disruptive would be imagining possible worlds and manufacturing bold, new mythologies without fear of getting it wrong because it is no longer the writing self that matters, but the collective mind that thinks by means of our writing.

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Is It Weird or Is It Human?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

18 OCTOBER 2021 Is It Weird or Is It Human?

About thirty months ago, Gary Garth McCann, my husband, founder of Late Last Night Books and the author of several works of realist fiction, suffered a massive stroke. I won’t detail the myriad ways this cataclysm has changed our lives. The changes his brain injury has wrought in his writing, however, are worth discussing here. It recently dawned that these changes relate directly to a question that has preoccupied me for some time: how we perceive reality, how we represent it, and the ethical implications of what we deem to be weird or unreal.

The accepted parameters of “weird literature,” parameters set by American writer HP Lovecraft in the 1920s, state that weird writing provokes disgust and discomfort, forcing readers to question their relationship to reality.

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Old Souls, Youthful Dysfunction, and Children Parenting Their Fathers.

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

26 AUGUST 2021 Old Souls, Youthful Dysfunction, and Children Parenting Their Fathers.

My last post dealt with weirdness in fiction. This post is an extension of that topic, related to two works I’ve read recently. The first of these is Donna Tartt’s Pulitzer Prize-winning novel, The Goldfinch, which I’ve only just gotten around to reading. (It’s nearly 800 pages long–that’s my excuse.) The second is a nonfiction memoir, Not the Kennedys, by a very talented newcomer, John O’Hern, who happens to be my cousin by marriage. These two books have absolutely nothing in common except that I happened to read them in the same month, and that both triggered more thoughts about how we humans confront an incomprehensible and incoherent world by writing about it.

The Goldfinch is, in my unhelpful opinion, less original and less spectacular than critics have made it out to be (maybe my next post will be about the weirdness of literary prizes).

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How Weird is That?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

15 JULY 2021 How Weird is That?

Literary scholars recently seem to think they’ve invented a new genre: weird literature. It’s partly an outgrowth of the increased popularity of science fiction, dystopic fiction and zombie stories–that sort of thing. Scholars also point to the restitution of the writing of HP Lovecroft (USA, 1890-1937), which seems to define this genre. I don’t have a problem with any of this (having been asked to contribute to a volume on the subject), but it’s worth pointing out that weirdness in narrative is nothing new, dating back at least to Cervantes’s Don Quixote, credited with kickstarting the modern novel in 1605. Don Quixote’s problem (the character’s “real” name was Alonso Quijano) was his inability to disentangle reality from fiction and his insistence on attacking the world as if it were an adventure tale from the chivalric tradition of “knight errantry.”

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Are Gardens for Real?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

15 JUNE 2021 Are Gardens for Real?

Ask any gardener. We’ll tell you that gardens are real enough–made of tangible living material and soil. But they are also products of the imagination, like any art form. And they are cultural products. Just compare the typical American garden–diverse, open, slightly wild–to the gardens characteristic of (in order of increasing formality) England, France, Italy, or Japan, respectively. Each culture imbues its gardens with its own peculiar approach to managing reality.

Because, after all, that is what a garden is–managed reality. A constant balance between the natural and the synthetic, between what we infer the natural world to be and what we want it to become. Between the ungraspable chaos of the natural universe and the aspirational coherence of our human minds.

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Probable versus Plausible—Realism’s Duplicity

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

9 MAY 2021 Probable versus Plausible—Realism’s Duplicity

I recall years ago reading about the success formula for television sitcoms: the plots can, and often should, be completely implausible, but they must be probable. In other words, the situation and actions can be as weird as you like—the weirder, the funnier—but the sequence of events has to make sense within that weird context. Lucy wandering lost in the New York City subway with her head stuck in a mammoth loving cup was perfectly acceptable, and hilarious, so long as Ricky didn’t suddenly materialize inexplicably out of nowhere to rescue her.

This formula makes me think of my favorite movie, Alfred Hitchcock’s North by Northwest. To me, it represents the culmination of Hitchcock’s genius: a realism so rarified that it presents completely unbelievable situations in ways that make them seem perfectly natural.

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On Poetry, Performance and Amanda Gorman

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

16 MARCH 2021 On Poetry, Performance and Amanda Gorman

Recently I attended a lecture about Irish “occasional poetry.” This doesn’t mean poetry written now and again; it means poetry written and performed for special occasions: holidays, commemorations, funerals and the like. The most obvious of these that comes to mind is “The Hill We Climb,” the poem commissioned for, written and performed by Amanda Gorman at President Biden’s inauguration.

I won’t get into a critique of the poem, except to say that I liked it on the whole, and that, like most people, I admire Ms. Gorman’s talents. Nor will I comment much on an infamous precursor, “Praise Song for the Day” by Elizabeth Alexander, performed at President Obama’s first inaugural in 2009. (Suffice to say that at the time I had a good rant about it with my favorite poet, Alexandra Burack, who also happens to be my cousin.)

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In Praise of Head-Hopping

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

17 FEBRUARY 2021 In Praise of Head-Hopping

“She had discovered that this was the tragedy of being human: unlike every other living thing, each person lived alone inside themselves, always seeking to build a bridge from soul to soul but never really succeeding, at least not for a few shining moments, now and then.” –Carol Bird, A Home Worth Having, 2020.

The great human paradox. Anyone who has lost a loved one to death—and we all have—knows it is so. All human souls have the grief of loss in common, yet each of us must grieve alone. And because this paradox is so obvious in our lived experience, we try to transcend it. Failing that, which we invariably do, we deny it.

Is that why editors of fiction so often insist that human points of view must always be given in isolation from one another?

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When Virtue is Absent

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

16 JANUARY 2021 When Virtue is Absent

Think of a movie or book you love where not a single character, not even the hero, is truly virtuous. For old-timers like me, “The Sting” (you know, starring Robert Redford) immediately comes to mind. For literary types, “The Talented Mr. Ripley” by Patricia Highsmith. Both are about con artists, though the crooks in “The Sting” are fun and are just ripping off illegal gamblers, where Mr. Ripley is, well, pretty much everything that personifies awfulness. The fact is that there are compelling anti-heroes for all literary tastes, the common ingredient being that we somehow end up rooting for them despite their criminality. What is the point of works like this–what are we supposed to do with them? Now that I’m working on a novel about a professional rumrunner during Prohibition (based very loosely on my grandfather), these questions are beginning to haunt me.

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Daphne du Maurier and the Absent Self

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

15 DECEMBER 2020 Daphne du Maurier and the Absent Self

Speaking of self-suppressing heroines (well I was, anyway), consider the protagonist of Daphne Du Maurier’s blockbuster 1938 novel, Rebecca. This first-person narrator is so self-deprecating that she never thinks it worthwhile to reveal her name, though she makes it clear that it’s a memorable one. The Rebecca of the title is the first Mrs. Maximilian de Winter, the narrator’s predecessor in marriage to a handsome but brooding aristocrat a good 20 years older than his naïve new bride. The plot centers on the narrator’s sense of utter inferiority—to the point of self-erasure—in comparison to her husband’s formidable first wife. The novel’s ingenious arc is only incompletely evident in the multiple movie and mini-series versions made over the decades (the best and most famous of which is Alfred Hitchcock’s 1940 film).

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Do Selfless Heroines Need to Be Self Suppressing Women?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

16 NOVEMBER 2020 Do Selfless Heroines Need to Be Self Suppressing Women?

“She knew, to the moving of a feather, what she could do with him and what she could not. Her immediate wish was to enable him to draw all possible pleasure from his triumph of the day, and therefore she would say no word to signify that his glory was founded on her sacrifice.” –Anthony Trollope, Golden Lion of Granpère

Every inch the Victorian novelist, Trollope regarded female self-sacrifice as a cardinal virtue. And yet he was surprisingly ahead of his time–and ahead of other male writers–in exploring the problems of identity, self-worth and self-assertion among his female characters. He was sharply aware of the untenable and unethical oppression of women in patriarchal Victorian society. His scores of novels relentlessly explore this problem.

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Whither the Heroine?

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

14 OCTOBER 2019 Whither the Heroine?

Think about it. When was the last time you read about a heroine who was not essentially modeled in the male heroic tradition? This tradition was consolidated by Scottish philosopher Thomas Carlyle nearly 180 years ago. Find me a heroine who isn’t an individual acting essentially alone and against societal expectations; who isn’t defined by a journey of self-discovery culminating in an extraordinary individual act; who sacrifices self and many of those she loves—but not her individual integrity or self-reliance—to perform that act; who is ultimately, retrospectively, praised or memorialized for that individual performance. Find me a heroine that is not a clone of millions of male heroes who have come before her.

Nowadays people don’t generally think in terms of heroic tradition, and there’s a good reason.

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When Less is More, or Why Victorian Novels Still Matter

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TODD S. GARTH

The Self of the City: Macedonio Fernández, The Argentine Avant-Garde and Modernity in Buenos Aires (2005);  Pariah in the Desert: The Monstrous and the Heroic in Horácio Quiroga (2015).

20 AUGUST 2019 When Less is More, or Why Victorian Novels Still Matter

In today’s environment of openness and explicitness, when virtually anything can and will be said and written, it’s a logical assumption that our level of communication and understanding is higher than ever—that very little is left to be revealed.

This has always intuitively seemed wrong to me, but it was the happy coincidence of reading Andrew Sean Greer’s best-selling novel, Less, and Anthony Trollope’s 1867 opus, Phineas Finn, more or less together, that helped me understand why.

If you’re not familiar with Trollope, or with Victorian writing generally (or, for that matter, with Henry James, the primary link between 19th and 20th century aesthetics and sensibilities), it helps to know that these novels are really, really long.

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