Service workers of a Different Stripe: Reading Melissa Gira Grant's "Playing the Whore"

I read through the book in a weekend.  I dog-eared some pages, for reference.  I was done, and I found myself asking just what the argument was in the book. Maybe I have to ask because I don’t read a lot on the subject. Maybe since it was short I was just looking ahead for the end. Maybe, just maybe, the argument wasn’t focused enough.

I think it gives some context: Kristof isn’t superman. Sex workers are workers too.  I can stand up for that. Maybe we shouldn’t want to save them especially, as Grant quotes another writer in the book: “No one ever wanted to save me from the restaurant industry.”

Martin Stiff's Absence: It won’t change your life

I like graphic novels.  For me they’re light reading, since the genre is so visual that I can read a book in an evening even with all the other distractions of life. I also like the pictures, and I know that writing a graphic novel, drawing it and inking it are as much work as writing an equivalently lengthy prose novel. 

The problem here is that the one of the genre’s strengths is also a weakness. I can read a graphic novel, and it will have disappeared the next day amid the other dross my brain has to deal with.  I don’t necessarily like that, but I still get and read them, so I think when I read graphic novels I am more in the moment and less reflective and thoughtful of a reader, so my memories of the work don’t last.

That’s the case here. The title is a good reflection of the work’s effect on my mind. I read it, but for recall there is an absence of sorts. I enjoyed reading it and the setting of coastal England mostly during the war, and an eccentric rich guy building what he called a house in the countryside.

I had read nothing of the book before I picked it up.  I had just grabbed it off of the shelf of my library. And here’s the thing.  This is what I remember most.  The cover had a picture of a man’s jaw with no lips.  I tell you what I was expecting – zombies.  Were there zombies? Not that I recall.

Overall a quick entertaining read and a nice way to pass the evening. It won’t change your life or anything. There’s only one _Bone_, come on.

Moore's Serpent of Venice: Improving on the Fool

I like Chris Moore’s work.  I have read several previous books, and I have been an advocate of his by telling others that they need to read his work.  I think there are still a couple I haven’t read, but I think based on what I do know of his work I can rate him amongst the best at what he does recently. I’m not sure just what that is, or if there are genre considerations or cliques that I am not aware of, but in my mind he is a fabulist humorist – so he’s up there with Calvino and Tom Robbins.

That said, I did not like _Fool_. I really liked what he did with his version of the greatest story ever told, but for some reason I couldn’t get into his retelling of King Lear. I didn’t like the characters he fleshed out, and to be quite frank, Lear is a boring play. It took me a while to understand why I didn’t like Fool, and my conclusion is that Moore was too close to the source material in Fool. It took 300 pages for King to give away his stuff, and then yell at the wind.

So to be honest, I wasn’t too excited to learn that Moore resurrected Pocket for his next book. He was flat and too smart and too powerful without granting a full believable explanation of his back story. He was taking Pocket (And Jones, Drool, and Jeff) to Venice to live the Shakespearian Venetian plays of Othello and A Merchant of Venice.   Here’s the thing: I liked this book much more than I did Fool. I have read and seen the source material staged (with much enjoyment). What I was able to do was to stop comparing the book I was reading to the source material. Moore makes A Serpent of Venice his own story where Fool was too derivative of its source. It’s like how A Wide Sargasso Sea is both Jane Eyre and nothing like Jane Eyre – Rhys created her own world, and that’s what Moore accomplishes.  This one is also less bawdy and Pocket feels more fleshed out, but that could just be me. I recommend this book to any Chris Moore fan, and those who will soon be.

A couple of notes: Moore claims that the Poe story A Cask of Amontillado is also a source. It is, but just barely. What I more appreciated was slipping Coleridge’s Kubla Kahn in the work. Moore was able to play with the classics and create his own, which is hard so he deserves credit.