This is the first book review I've written in nearly three years, since I hung up my reviewing socks following a stint at Publishers Weekly's online division, where I was paid handsomely in American currency to review books about sports and music. Those books were assigned to me based on a rough affinity for the subject matter. I liked baseball and Phil Spector music and funny writing, so I was assigned books about baseball, Phil Spector and the music industry, naturally. Despite my purported interest in the subject matter, however, I often disliked the books assigned to me. Perhaps this was a residual effect of years of assigned reading at school. These books, looming over my reading list like a colonoscopy, found me angry and tired. Still, I gave them a fair shake. A few rose above to really impress me. Others offered diversion or momentary entertainment before lapsing into unrelenting mediocrity. Several were nearly too dreadful to finish. When I reviewed books, I tried to find their best qualities first. To do so, I often imagined a book's ideal reader. Every book, after all, has its intended audience, and maybe an underemployed, poorly paid book reviewer wasn't it. Perhaps somebody else, someone with a different background and no taste, might find merit in a memoir about the early days of off-shore gambling. Stranger things have come to pass. Still, it seems rare that a book finds it ideal reader, and rarer still that said reader is also in a position to write a long and self-referential review of it. Occasionally, though, God reaches down and places the right book in the right reader's hands. Such a moment occurred a few weeks ago when I received a new book in the mail. In this particular scenario, however, God was a New York publicist named Kate. This prelude exists largely to explain why you might not like Richard Rushfield's memoir Don't Follow Me, I'm Lost as much as I did. You might not be able to access its bleak, wintry setting. Perhaps the events of the narrative, the college experiences of the wayward young Rushfield, won't appeal to you. If so, I understand. Maybe you went to a state school. On the face of it, Richard Rushfield and I are not that similar. I went to a competitive academic school in the late 1990s while Rushfield toiled (figuratively) at weirder-than-thou Hampshire College in the 1980s. I made friends relatively easily and dragged myself to class with frequency. Rushfield joined an infamous band of outsiders, The Supreme Dicks, eventually achieving full pariah status in only a few years. And yet, of all the people in the world who might read this book, none would enjoy it as much as I. For one thing, I love campus literature. My favorite novel is Lucky Jim, and my favorite Updike story is "The Christian Roommate." I also enjoy books whose characters simply can't get out of their own way. Toby Young (who blurbed this book, I notice) wrote an excellent memoir in much this fashion, How to Lose Friends and Alienate People. There's just something about people lighting themselves on fire, I suppose. Rushfield begins to self-immolate almost immediately upon setting foot on the Hampshire College campus. Located in Amherst, Massechusetts, Hampsire is part of the five college system, along with Amherst, UMass, Smith and Mount Holyoke. It's committed to alternative education, meaning it gives no grades and offers its students the opportunity to craft their own education around the subject matter that interests them. It's this freedom that attracts him. Well, that and the promise of a single room. Hindered in part by his aversion to marijuana, Rushfield has some difficulty navigating the social world of Hampshire, with its abundance of Hippies and "Preppy Deadheads": students who came from elite prep schools but embraced aspects of hippie culture, such as hackysack, the Grateful Dead and dreadlocks (another term for this demographic is the Frisbee Elite). Rushfield drifts along on the periphery of the school, skipping nearly every class and living a mostly solitary life. When he's caught scrawling some graffiti on someone's Bob Marley poster, he's exiled from the dorms and forced to find a new place to live. He turns to The Supreme Dicks, the most reviled people on campus. It's here that the book hits its stride, finding its heroes and establishing a rich mythology that few memoirs ever achieve. One part commune, one part experimental post-punk band, The Supreme Dicks live in one of the college's modular housing units deep in the woods. From their remote location, they operate as their own world, complete with its own philosophy, a bastardized version of the teachings of Wilhelm Reich. Richard, it turns out, had been warned about the Dicks from the very beginning: Back in my first week at Hampshire, Lonnie had taken me aside, in his characteristic manner that was the more terrifying for its seeming concern that he was anxious for my safety, and warned me that there was a group of evil, despicable people at the school. Horrible, dreadful, terrible, he said, spitting adjectives until he was gasping for breath. He didn't want to scare me but he had reason to believe that these people, who called themselves "the Supreme Dicks," might try -- he kneaded my shoulder with a caring hand -- might try to talk to me. You see, he continued, he had noticed that I bore a resemblance to one of them -- one of their leaders who had left the school after, Lonnie went on, eyebrow arched, his brother had died...My heart raced. Weird people, with some tragic secret, will want to talk to me? Talk to him they do, and eventually Rushfield takes refuge in their ranks. It's there, in the woods, that he discovers that life with the Dicks is a surreal and often directionless experience. For instance, roughly thirty pages is given to describing a night when the group, hungry and cold, plots a trip to the new Denny's two towns over. Despite a mounting panic about whether they'd have anything to eat that night, their inability to organize an expedition, even in the face of hunger pains, takes on an hallucinogenic quality, as they wander around the campus like Bedouin scavengers, looking for the path of least resistance. To pigeonhole the Dicks as anti-hippie would be to simplify a mysterious movement, a group composed of people from across the racial, sexual and generational spectrum (several of the Dicks are approaching their second decade as Hampshire College students when the book begins). One couldn't rightly call them nihilists, as they have a core of beliefs, what with their Reichian theories and their belief in celibacy and vegetarianism. And yet, they seem to oppose more or less everything and everyone else. And therein, I think, lies the greatness of this book. At its heart, Don't Follow Me, I'm Lost is a memoir of opposition, of resistance. Rushfield and the Dicks position themselves as the "other" at a school that is all about embracing that which is different or marginalized, so long as that marginalization feels earned by genuine oppression. The Dicks, a mix of rich and poor, white and non, straight and gay, defy easy categorization, and unsurprisingly, meet with scorn. That the Dicks emerge as the unlikely heroes of the book is testament to Rushfield's storytelling abilities. He has talent for exposing the hypocrisies and idiocies of the typical Hampshire armchair revolutionary. The more the college slides further and further into left-wing, politically correct fascism, the more Rushfield and his friends seem like the voices of reason. Don't Follow Me, I'm Lost contains many elements of the typical college narrative: the confusion of orientation, the perils of dorm life, the relationships formed and dissolved in a matter of days or hours. There's even a ridiculously ill-conceived trip to Daytona Beach for spring break. But nothing at Hampshire happens as one would expect. Every situation is coated with a thick haze of drugs and radical politics, rendering it both familiar and foreign at the same time. The effect is a small, messy, often infuriating world, a world I nevertheless enjoyed inhabiting for a few hundred pages. By the end of the book, I found myself agreeing with the graffiti Rushfield finds in the library soon after arriving at Hampshire: "Supreme Dicks rule, OK." But then again, they're preaching to the choir with me.
All over Book Expo America, the country's largest book industry trade show, were signs of the major trends in publishing and bookselling. Environmentalism was the order of the day, and everywhere I went there were signs of the industry "going green." At the American Booksellers Association's annual Day of Education, Ed Begley Jr. gave the keynote address on how he's shaped his and his family's life around notions of conservation, and how independent businesses, particularly indie bookstores, carry on the rich tradition of independent thinking in America. Amy Goodman, host of Democracy Now, followed this with a luncheon address that stressed the independent bookselling community's importance as a bastion of intellectual and political freedom. This set the stage nicely for ABA's major new initiative.Hours later, the ABA made the long-awaited announcement that Book Sense is no more. It has been replaced by IndieBound, a hipper, younger brand that will attempt to involve independent businesses of every ilk - from independent bookstores to independent dry cleaners to... well, you get the point. I think most everyone would agree that Book Sense had served its purpose and needed reinvigoration. Whereas Book Sense hoped to present a unified front of indies in the face of competition from Borders, Barnes and Noble, and Amazon, IndieBound represents an effort to return to the idea of the neighborhood bookstore and the importance of shopping locally. While the initiative definitely has its share of skeptics (I don't particularly see how it will help bookstores compete in the online marketplace), it is an infinitely better brand than Book Sense. If the locavore movement can gain traction, maybe this can, as well.Having BEA in LA was something of a mixed blessing. While it was nice to sleep in my own bed at the end of the night, the stress of everyday life added to the stress of being in 24/7 mingle mode can be a bit much. I did my best to partake of the many parties around town, but eventually I ran out of gas. Edan made it to the Skylight Bookstore party, where she ran into Pinky, some cool people from McNally Robinson in NYC (including Jessica from the Written Nerd), Kelly Link and the folks from Small Beer Press. While she was mixing it up there, I went to the Disney Books dinner at Patina. The guest list included some of the major authors in children's and young adult books today: Eoin Colfer, Jonathan Stroud, Kevin Carroll, Ann M. Martin and Brian Selznick, Jon Scieszka and Lane Smith, Dave Berry and Ridley Pearson, Rick Riordan, and Robert F. Kennedy, Jr. At first, I was profoundly uncomfortable, as I seemed to be the only person in the room who didn't have strong opinions on every kids' book published in the last five years, but after a while (and, let's face it, a few drinks) I felt more and more at ease. You might think a kids' book dinner thrown by Disney would be tame. You would be wrong. I didn't go to every dinner at BEA, but I feel safe in saying this was among the raunchiest. Robert Kennedy told a joke about sexual congress between a leprechaun and a penguin. 'Nuff said. I laughed throughout dinner and learned a pretty good amount about the authors as well. The evening ended with me convincing a group of booksellers that it would be a good idea to forgo a cab and take the metro to their hotel. The metro only runs until midnight here in LA, and I was warned several times that if we missed the train and ended up stranded in scenic downtown LA, then I would have sold my last book, so to speak. Thankfully for me, we caught the last train out of downtown and everybody lived to see the trade show the next day.The BEA trade show floor, like most large conferences, can be overwhelming without a plan. Mine was fairly simple - spend Friday in panels and meetings, visiting a couple of priority booths in my spare time, then use Saturday (and Sunday, if absolutely necessary) to see the rest of the show. After attending a meeting on the future of the IndieBound webstore, I ducked in to hear Thomas Friedman's keynote address. He read from his forthcoming book Hot, Flat, and Crowded. While I waited for him to take the stage, I chatted with my neighbor about a Thursday panel I had missed about the future of the e-book. She told me I hadn't missed much, but that Adobe, Palm, Microsoft, and the others had finally agreed on a single format, making it much easier to compete with the Amazon. Friedman's address focused again on environmentalism and America's need to lead the way to finding clean, sustainable sources of energy.After a day of meetings, planned or otherwise (I ran into Nam Le and did a bit of catching up) and a couple of cocktail parties (drinks with Alec Baldwin in support of his book about divorce (Stephen Baldwin was there!), followed by the Ecco Press/Book Soup party at Palihouse, where I drank a sickly sweet champaign cocktail), I was back at BEA early Saturday morning to hit the booths. I put in appearance at McSweeney's, which was easily the least conspicuous booth there. Just Eli Horowitz and Andrew Leland sitting behind a card table. I made the rounds of the major publishers, guided for a brief bit by Mark Sarvas, who happened to be walking the floor with Jim Ruland of Vermin on the Mount. We hit the Grey Wolf Press booth, where I picked up a copy of a new story collection by Jeffrey Renard Allen called Holding Pattern.Rather than laboriously describe each booth and every galley I got (I got too many), I'll just touch on the highlights. It seemed I had something nice to say about every book that Da Capo brought with them - I had positively reviewed Des Wilson's Ghosts at the Table for Publishers Weekly, I had been a long-time vocal advocate of Toby Young's How to Lose Friends and Alienate People, and I've been dying to read David Browne's biography of Sonic Youth, Goodbye 20th Century, of which I snagged a copy. I had a great time talking to Gavin and Jedediah at Small Beer Press, and walked away with a copy of John Kessel's The Baum Plan for Financial Independence. Early on Thursday morning, I'd run into Amy and Janet, two women from Athens, GA who are opening a bookstore there called Avid. They introduced me to Eric and Eliza Jane from Two Dollar Radio, a really cool small press publishing bold, innovative fiction by Rudolph Wurlitzer, Amy Koppelman, and others. I did my usual bit of groveling at the feet of the New York Review of Books, where I thanked them for introducing me to J.F. Powers. They were sweethearts and gave me a pin. At the Tin House booth, I talked up Jim Krusoe's upcoming event at Vroman's, which resulted in me snagging a couple of books, including Krusoe's new Girl Factory and a novel by Adam Braver called November 22, 1963. And finally, as the day wore on and my feet swelled to twice their original size, I spotted somebody in the FSG booth pulling ARCs of Robert Bolano's 2666 out of a box. I grabbed one. It's 912 pages long, weighs several pounds, and looks better than 90% of the paperbacks published this year. On Saturday night, I slept.For a complete rundown of BEA from the bookseller's perspective, check out the Vroman's Bookstore blog.