Skip to main content

"American Skin:" A True Chicago Classic


An odd thing happened at the Chicago Classics literary event last night.

Several hundred people had gathered in the auditorium of the MCA Chicago for the final event of Story Week 2012, the annual celebration of writers and writing organized by Columbia College Chicago's dynamic and internationally-respected Fiction Writing Department. They were there to hear about twenty Chicago writers read short passages from their favourite Chicago writers. So, for example, journalist and radio host Steve Edwards read a poem by Chicago poet Maxine Chernoff; author John Schultz read from Saul Bellow;  writer and director Coya Paz read from Achy Obejas. The spirit of the event, beautifully hosted by veteran journalist Rick Kogan, was all about writers paying homage to this city of great writers, through writing that meant something personal to them.

So when one person took the stage and took the opportunity to essentially belittle and poke fun at his chosen book, it seemed to my mind to stick out very sharply from the tone of the rest of the evening. That this person decided to do this with the book "American Skin", by Don De Grazia, is particularly puzzling, because of all the contemporary writing that was read aloud on that stage last night, it is "American Skin" that truly deserves the title of a Chicago Classic.

When I first came to Chicago, at the end of 2000, my then girlfriend Patricia Ann McNair put into effect a cunning plan: to show me so many landmarks in Chicago that I wouldn't want to leave. So she took me on a boat trip around the shoreline. She took me to the observation deck of the John Hancock Tower ("the taap of the 'caack," as Patty said in her broadest Chicago accent). And she took me to readings by Chicago authors, one of them an event that included Don De Grazia reading from the first chapter of "American Skin."  I remember responding strongly to the writing, but in my typical British way (thankfully modified since then) I went up to Don after the reading and said something flippant, which he graciously let pass.

When I took the time to read the book, I realised that Patty had indeed introduced me to a landmark every bit as overpowering in its effect as seeing the view from the John Hancock tower for the first time: you feel raised up into the air, far up into the sky, to be offered a view not just of a landscape but of a continent, from an angle that can certainly make you dizzy, maybe that can induce vertigo, but which will stay with you for a long time.

Here, for example, is a section from "American Skin" that could have been read to the audience at the MCA last night:



Does anyone remember that De Grazia quotes Sherwood Anderson at the start of the book's epilogue, and that Don himself chose to read from Anderson's "Winesburg Ohio" when he took the stage at the MCA? Read that passage above again. In its sense of scene, the closeness of the observation, the tenderness of the underlying emotion, it's clear that De Grazia is the natural heir to a writer like Sherwood Anderson, and to Ernest Hemingway, and to Hubert Selby Jr.

I've come to know Don fairly well in the last ten years. I wouldn't say we're close friends, though that might just have come about because of different schedules. Whenever I spend time with him, he strikes me as a generous-spirited man, fiercely loyal to the people he likes, completely committed to the Fiction Writing department where he teaches, always thinking of the student writers who flock to his classes. Don is a big guy, too, who looks like he could hold his own in the ring with some of his heroes. So on a personal level, if you see what I mean, Don doesn't need any defenders.

But this piece isn't about that. It's about acknowledging something that got a little lost last night, when "American Skin" ended up being the only work to be mentioned and then not heard from. In a way, to even write any of the above as a kind of defense is absurd, in the same way that attacking or defending the John Hancock tower would be absurd: you can say whatever you like about it, but it's still there, dominating the city. I mean, imagine if you stood outside the Hancock and started shouting insults directly at the side of the building: people would think you were bonkers, wouldn't they?

"American Skin" is already mentioned in the same breath as "Last Exit to Brooklyn", as a piece of fiction that sums up a time for the benefit of all future times. It is a Chicago Classic, which in the words of Stravinsky talking about Beethoven, "will be contemporary forever."

And yes, it is available not just in used bookstores, but very much in your local independent bookstores like The Book Cellar, in Chicago, and on Amazon (link here).

Comments

  1. That person sounds very out of step with the spirit of the event. What a pity. Also, a shame to comment on a book, yet never allow it to speak for itself. Though it sounds as if many (most?) of the audience would have already experienced American Skin for themselves. Hopefully those who had not, would be interested enough to get hold of a copy, just to see what it was all about - rather than accept the disparaging remarks of one person.

    I have never read American Skin, but it sounds as if I should do - and as if I may well enjoy it too (not all "should reads" can be "read and enjoyed" books, but I would try all the same!).
    I'm currently working my way through a number of American classic authors - mainly from C19th and early C20th just now. I am learning loads - about American history (the War of Independance, Civil War - before and after it too, the pioneer era and settling of the West etc, American society and the growth of the large cities etc). I never learned US history before, but it's very interesting and enjoyable. I will add American Skin to the list of "should reads" - and hope it becomes one of my "read and enjoyed" as well!
    Thanks Philip!

    ReplyDelete
  2. Lizzie, Thanks for your comment. Are you from England, like me? "Loads" sounds like a British-English word, that's all. Anyway, "American Skin" has some rough material in it, which may be offensive to some people. But I don't think literature is necessarily there to make us feel good all the time, and that's why I would always recommend a book like this no matter what your beliefs or worldview. And I envy you reading US authors for the first time - there's so much great writing to discover.

    ReplyDelete

Post a Comment

Popular posts from this blog

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times:

Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage. I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct.


A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these days from websites and YouTube videos. I've also had email exchanges with several pr…

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative:


And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage: