Scan Artist by Marcia Biederman

When I want to find some information, I can pull my cell phone out of my pocket and search for it using Google (or some other search engine, but probably Google). I can remember a time when that was not an option. If the information I needed wasn’t in the dictionary or encyclopedia I had at home (which was already of date in some areas), I’d have to go to the library for additional references or—heaven forbid—the morgue of a newspaper office. Getting useful information was not a trivial affair. The generation before mine that saw a pre-Internet explosion of printed information after World War II especially felt the difficulty of keeping up. Evelyn Wood was there with an answer; Marcia Biederman tells her story in Scan Artist.

Evelyn Wood did not invent speed reading. She did not even like the term. However, for decades her name and face was more strongly associated with it than any other person. Though she built her reputation on being a school teacher, she never was not a regular classroom teacher (she was a school counselor) and she was not a reading specialist. She had a master’s degree in speech, earned under the direction of a professor who a studied theater.

Theater may be the lens for looking at Wood’s career. She started writing and staging plays when she was in high school and a college undergraduate. Many of these had religious themes related to her Mormon faith. When she was in Germany, where her husband served as president of the Mormon mission in Frankfurt as the Nazis began their aggressions, she fell in love with the opera and cajoled her way into back stage of the opera house. She began bringing what she learned of stagecraft into her own productions.

Back in the U.S. the Woods put Evelyn’s theatrical skills to work as lecturers on their European experience. They changed their focus as American sentiments shifted from Germany to Britain. They also put a pretty heavy spin on the Mormon relationship with the Nazis and greatly embellished the dangers they face leaving Germany.

Evelyn Wood’s success as a seller of her speed-reading system was largely built on such theatrics and embellishments. She claimed student could read thousands of words per minute; the faster one read the better their comprehension. (The fastest people can actually read is about 900 words per minute. Anything faster is skimming, and comprehension suffers when one skims). She managed to get endorsements from senators and she encouraged, or at least never corrected, the misconception that she was tied to John F. Kennedy and his reportedly fast reading speed. (Ted Kennedy took her course as a senator, and staffers in the Kennedy, Nixon and Carter administrations took the course, including Jimmy Carter himself, though Wood was not the teacher.)

The company she started changed hands and business models several times. A lot of money was made with her name and methods, and in the sale and resale of the company, but the Woods received only a small portion of it. Even so, she was ready to promote herself, her methods and the company that still paid her a consulting fee. She slowed down, but continued to make appearances and accept interview requests even after suffering cancer and a stroke.

While one may sympathize with her, especially in her illness later in life, the Evelyn Wood presented by Biederman is not easy to like. The Wood adopted a teenage girl largely to have a live-in nanny for their natural daughter when they moved to Germany; they never really acknowledge their adopted daughter or even saw her much once she was an adult. Wood was in some ways a con artist who played on the insecurities of her marks, some who were never knocked in spite of the mounting evidence that her program was at best an overprice lesson in skimming.

Wood found a way to take advantage of the insecurity of her day. She built a brand on it. While primarily a biography of Wood, Scan Artist reveals interesting things about America of the time and the obsession with self-improvement. It has not disappeared. Speed-reading apps still claim to greatly increase both speed and comprehension. TED-talkers claim to read a book or more a day. The Internet makes it easy to acquire a shallow knowledge of almost anything quickly, so perhaps people have become satisfied with what they can learn from skimming hundreds of books a year. Deep learning and understanding remains slow and effortful.

Biederman, Marcia. Scan Artist: How Evelyn Wood Convinced the World that Speed-Reading Worked. Chicago: Chicago Review Press, 2019.

Stat-Spotting by Joel Best

We are confronted with statistics in the news wherever we turn: television, radio, newspapers, magazines and the internet. It can be hard to sort out what meaning to make of the numbers, especially when there are competing statistics or interpretations.

Sociology professor Joel Best provides advice on recognizing suspicious statistics in Stat-Spotting. This is by no means a technical or mathematical guide to statistics. It is aimed squarely at the layman who is confronted by statistics in the news and from the mouths of politicians or experts.

A good place to start is with a bit of advice that Best puts toward the end of the book (this isn’t inconvenient; it is a short book). If a number seems shocking, unbelievable or far outside of what your own experience might lead you to expect, it is probably worth digging into it some more.

Not every bad statistic is the result of bad faith. By the time a statistic reaches the public, it has been through several hands. It starts with some research, which may be undertaking by a fairly neutral party or by an advocate. In either case, they have a motivation to get attention for their work. Someone has to bring a study to the attention of the media, and they may add a layer of interpretation on the statistics. Finally, reporters, editors and producers are looking for stories that are sufficiently interesting or important to draw an audience.

This is a process that can introduce mistakes, even unintentionally, and bring sensational statistics to the fore. Many of these people don’t know any more about research methods or statistical analysis that you. The math and logic of statistics, especially when it relates to probability, can be counterintuitive, and even professional researchers sometimes don’t have a solid grasp on it. Of course, some of these people are producing statistics with the intent of supporting a particular point of view.

Best points out 32 ways in which the statistics you see may have a problem. These are easy to grasp and don’t involve much if any math. He presents them in simple terms, and in each case provides an example from the news.

There are a lot of demands for our attention and action, and statistics are often cited as part of these appeals. It is helpful to approach these numbers with some skepticism. Stat-Spotting provides accessible tools for testing the reasonableness of the statistics we come across day to day.

If you’re interested in this book, you may also be interested in

Freakonomics by Steven D. Levitt & Stephen J. Dubner

The Johnstown Flood by David McCollough

Best, Joel. Stat-Spotting: A Field Guide to Identifying Dubious Statistics. Berkeley, CA: University of California Press, 2008.

The Computers of Star Trek by Lois Gresh & Robert Weinberg

Star Trek fans, I’m one of them, have praised the show for the way it has anticipated technology. It used to be quite the thing to compare a flip phone to the Trek communicator.

However, have you ever watched a rerun of the show and seen something that now seems quaint, even ridiculous, especially when it comes to computers? Back in 1999, Lois Gresh and Robert Weinberg published observations like this, along with a few kudos for the shows, in The Computers of Star Trek.

The book covers episodes from the original series (TOS), The Next Generation (TNG), Deep Space Nine, Voyager and the films through Insurrection. While all the series, even the more recent prequel series Enterprise, depict a technologically advance future, none are focused on technology. They are more focused on telling stories that deal with the social issues in the periods in which they were made.

Gresh and Weinberg note this: Trek computers are mainly supersized versions of the computers of the time the show is made. In some ways, the Federation computers in the show are throwbacks to 1970s and earlier era mainframes, even though smaller, networked computers were becoming the dominant model when the revival series started in the late 1980s. This continued even as the Internet emerged and became part of the popular culture.

Of course the producers of the show aren’t especially interested in how computers actually work; they want to make an entertaining TV show and sometimes explore what is going on the society around them through the lens of a fictional future. Trek is interesting in this regard because it shows the attitudes of people about computers over time. In TOS computers are regarded with skepticism: computers break down, Spock is a hacker who takes over the ship, artificial intelligences take over planets but get fried by the illogic of emotions. By the time of TNG, computers are ubiquitous and acceptable—everyone uses them—but the threat of the Borg show concerns that computers might take over our lives and cause us to be depersonalized, destroying our individual identities.

An almost 20 year old book can’t help to be out of date, and the authors inevitably miss on some predictions. For instance, in their criticism of Trek’s take on medicine (not very advanced at all except when it is practically magic), the mention Army research into smart shirts that will monitor wearers for vital signs and injuries. It was a tee shirt with sewn in sensors that could be made for $30 (in 1998 dollars). Though we now have a lot of wearable technology, hospitals, soldiers and health nuts aren’t making use of cheap tees that keep track of their status moment by moment.

I don’t bring this up to knock the authors’ predictions. It’s hard to predict the future, especially by projecting from the current state of the art. Trek writers arguably haven’t tried very hard, but the show really isn’t about technology anyway.

If you’re interested in this book, you may also be interested in:

A Little History of Science by William Bynum

Ada's Algorithm by James Essinger

How to Build an Android by David F. Dufty

I Am Spock by Leonard Nimoy

The Numerati by Stephen Baker

Gresh, Lois, & Robert Weinberg. The Computers of Star Trek. New York: Basic Books, 1999.

Stan Lee by Bob Batchelor

Stan Lee is the face of comic books to many and has become a sort of celebrity in his more than 70-year long career as a storyteller. He began to hone his image on the college lecture circuit in the 1960s while he created a new type of superhero, typified by the Fantastic Four and Spider-Man, in collaboration with artists including Jack Kirby and Steve Ditko. It was a role Lee was ready for; he had been trying out ways to promote comic books and himself since the 1940s.

Bob Batchelor presents Lee’s life in Stan Lee: The Man behind Marvel. Though not a long biography, it starts with Lee’s childhood in New York City and runs through his 95^th year, when he is still producing ideas for comics and television.

Lee was present nearly at the beginning of comic books. He started as an assistant to Joe Simon and Jack Kirby, the creators of Captain America. When they moved on after contentions with Timely Comics, a forerunner to Marvel, Lee stepped up to become editor while still a teenager.

Lee was ready to quit comics by the time the 1960s. He craved to work in a respectable field and was tired of chasing trends. The right combination of opportunity and encouragement from his wife pushed Lee to write the kind of comics he would want to read, and it became a sensation.

Though Lee will always be associated with Marvel comics, by the 1980s his focus was shifting to television and film. It was a rough transition for Lee, but he had some success, especially in the production of animated adaptions of Marvel characters that were popular in the 1990s.

Lee has stumbled some in his post-Marvel career, notably the debacle of new media company Stan Lee Media. He seems to have recovered somewhat with POW! Entertainment.

Lee has detractors, which Batchelor acknowledges. Batchelor doesn’t refute those detractors, but his take on Lee is overall very positive. Lee appears to be someone who tries not to be tied down by his past, neither dwelling on his failures nor being content with many successes.

Lee was a central figure in creating some of the most popular characters and stories in the world. Well into his 90s, he is still working and coming up with ideas that find their way into print, television and the Internet.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon 

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

The Book of Lies by Brad Meltzer

Comic Book Nation by Bradford W. Wright

In Memory Yet Green by Isaac Asimov

Kirby by Mark Evanier

Marvel Comics: The Untold Story by Sean Howe

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

Spider-Man

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Batchelor, Bob. Stan Lee: The Man behind Marvel. New York: Rowman & Littlefield, 2017.

The Caped Crusade by Glen Weldon

Based on his self-description in The Caped Crusade, Glen Weldon and I are close in age. Unlike Weldon, the limited selection of broadcast television channels in my rural community did not present 1960s Batman series. My childhood impressions of the Dark Knight came almost exclusively from the comics. My favorite version of Batman is the “World’s Greatest Detective” (when I came across his team-up with a very old Sherlock Holmes in Detective Comics 500, I had to have it). I’m also fond of the adventure hero who hues close to his pulp roots—basically the Shadow or Doc Savage in a bat suit (I also had to buy Batman 253, in which the awestruck superhero acknowledges the Shadow as an inspiration).

I suppose that I staked out my position on Batman because that is partly what Weldon’s book is about, the contradictions between Batman the character and Batman the idea, and the tension between stories loved by hardcore fans and stories appreciated by a wider audience who engage with Batman in diverse ways.

Weldon illustrates this tension, and the character’s shift as the pull is sometimes stronger in one direction or another, through the history of the character. He sees a cycle in Batman’s depiction. He starts as a dark loner. He becomes a father figure (most directly to Robin). He grows into the patriarch of a family (Robin, Alfred, Batgirl, and Huntress just to start a list). Then a desire to revitalize the character, get back to roots, or satisfy the core fandom returns him to the loner stage.

The hardcore fans Weldon writes of generally conceive Batman as serious. They want a Batman who is realistic and gritty. In my experience as a reader of comics, “serious,” “realistic” and “gritty” are often code words for prurience, grotesquery and gore. I’m not interested in that in comics or any other media.

These fans have a love-hate relationship with the Batman of other media (they just hate the Adam West version). The Tim Burton films revitalized public interest in Batman when the comics were in a serious sales slump. (The hardcore fans hate the Joel Schumacher movies. I’m with them on that.) In the Chris Nolan trilogy they finally got a Batman who is serious and has acceptance in the wider culture.

That culture is much wider now than ever, especially due to the Internet. Comics fandom was once very insular, and in some ways it still is. In the Internet age, many people are engaging the character and idea of Batman. Comic book fans, cosplayers, fan fiction writers, movie buffs, fashionistas, retro TV watchers, hipsters and a host of others are interacting with Batman’s stories, history, image and iconography. It is a world that some of the old hardcore fans may find discomfiting, but it may be a place where Batman can have lasting relevance.

Weldon plainly likes that prospect. In his view, the super-straight Adam West Batman and the grounded, brooding Chris Nolan Batman can coexist. They are both really Batman. People have always focused on the aspects of the character that resonated with them. They have also imposed on him interpretations that the writers and artists that created his stories never imagined. We do this with every text, but few texts have the longevity of Batman. That may be the Weldon’s other point. We can take any version of Batman as seriously as we want, or we can simply enjoy the stories. He is a fictional character after all.

If you’re interested in this book, you may also be interested in:

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

Fic by Anne Jamison

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Wisdom from the Batcave by Cary A. Friedman

Weldon, Glen. The Caped Crusade: Batman and the Rise of Nerd Culture. New York: Simon & Schuster, 2016.

Technology in World Civilization by Arnold Pacey

For those looking for a brief survey of technological history around the world, Technology in World Civilization by Arnold Pacey would be a good start. With just a little preface to introduce ideas about how civilizations interact in relation to technology, Pacey dives into a historical narrative of the development of major technologies. He starts in A.D. 700 and continues almost to the time the book was published in 1990.

Throughout the book, Pacey describes the interactions between civilizations as a dialogue. Straightforward, direct transfer of technology from one civilization to another is rare in his view. The success and development of a technology that originated in a foreign culture depends a lot on the customs, organization, government, economy, and technology of the receiving culture. Very often, the adoption of a foreign technology spurs adaptions, improvements and even new inventions among the adopters. Even the rumor of a foreign technology can spur people invent, or independently reinvent, solutions to a problem. Pacey is keen to recognize this stimulus effect in cross-cultural dialogue related to technology.

In addition to recognizing the inventiveness found in many cultures, Pacey is careful not to overemphasize mechanical inventions, which might tend to put the focus on the West. He points out that the development of more efficient and productive crops and agricultural practices in Asia were also important technologies.

Another important technological improvement centered on organization and abstraction. As technologies became larger and more complex, they exhausted what could be experienced directly by craftsmen. Improvement depended on developing new ways of thinking about materials and work. Scale drawing and model-making became a way to deal with complex construction. New principles of organization were applied to work, such as specialization and division of labor, especially as people began to work with powered machinery. Some technological improvements even required a new way of understanding materials, spurring interest in the development of sciences, especially chemistry.

Pacey follows this progression through guns and railroads and into the 20^th century with computers, nuclear power, and flights to the moon. He doesn’t stop there. Instead, he takes a look, seemingly “back,” to survival technologies. Technologies related to agriculture, sanitation and environmental health in the 20^th century have a huge impact on the way we live today. In the decades since this book was published, the Internet has revolutionized the way we think about computing and communications, but in many ways our health, wellbeing and lifestyles depend on technologies that are centuries old and we cannot neglect them. Perhaps in an ongoing cross-cultural dialogue about technology, new and old, we can find solutions to current and future problems (climate change, water shortages, clean energy, food security and more) that are adaptable to the various needs, scales and organizations of cultures around the world.

If you’re interested in this book, you may also be interested in

Dreams of Iron and Steel by Deborah Cadbury

Pacey, Arnold. Technology in World Civilization: A Thousand-Year History. Cambridge, MA: The MIT Press, 1990.

The Secret History of Wonder Woman by Jill Lepore

Wonder Woman is one of most popular comic book characters. Because she is about to be featured in a film that will bring Batman and Superman together in epic battle, and is expected to be featured in a film of her own, the Internet is already beginning to buzz with concern over how badly she may be portrayed and hopes that the filmmakers will get her right. She has starred in some great stories, but often the stories about her have disappointed for various reasons. The difficulty of depicting a woman superhero has its roots in sorting out the roles of women in society, something we’re still working on. It is a struggle Wonder Woman was born to fight.

Jill Lepore explores the birth of this female superhero in The Secret History of Wonder Woman. In one of her various comics origins, the demigoddess was formed from the mud of Paradise Island, but Lepore describes how she was formed in the suffrage and feminist movements of the late 19^th and early 20^th centuries, and an unusual family with strong ties to these movements.

Wonder Woman first appeared in print in 1941. When she became the title character of her own comic, her creator came from behind his pseudonym, with some fanfare, and revealed himself as psychologist William Moulton Marston.

Marston’s lifestyle is known now, but it was a closely held secret during his lifetime. For all practical purposes, if not legally, he had two wives. Surprisingly, both women were feminists. They both loved Marston and found in this arrangement a way to live the lives they wanted. They had a pragmatic, flexible feminism that was accepting of the unconventional. I can hardly do it justice in a few words, but Lepore explores the early days of feminism that shaped the arrangement Marston had with these two women.

Marston met Elizabeth Holloway while they were undergraduates, he at Harvard and she at Mount Holyoke. They were both advocates of women’s suffrage. They married in 1915. Marston received a doctorate and Holloway a master’s degree. Holloway claimed to be deeply involved in Marston’s early research. The Marston household became full of writers and editors, and overtime attribution became a matter of convenience or marketing rather than identification of individual authorship.

Olive Byrne met Marston as an undergraduate at Tufts, where she became his research assistant. She quickly became more and moved into the Marston household. Eventually they worked out the arrangement that Holloway would work full-time (over time she had several jobs as an editor) while Byrne raised the children (each had two children with Marston). Byrne eventually felt the need to contribute the finances and in the 1930s wrote for Family Circle as Oliver Richards (Richards from the marriage and widowhood she faked to obscure the parentage of her children). Byrne, like the Marstons she joined, had ties to the feminist and birth control movements. She was the daughter of Ethel Byrne  and her aunt was the more famous Margaret Sanger.

Holloway, Byrne, and even Sanger, were to varying degrees the models for Wonder Woman. She was to be feminist propaganda, and under Marston’s pen she was. One would guess that this would have attracted criticism, but it was not the feminism of Wonder Woman that most stirred up critics.

Bondage was depicted on almost every page of Marston’s comics. In addition, Wonder Woman’s costume was skimpy. Lepore links the bondage in these comics to the use of bondage as a symbol used by suffragists and feminists. Sometimes Marston drew very consciously on images associated with these movements. In addition, the bondage represented notions of domination and submission rooted in Marston’s theories of personality and the relationship between the sexes. Bonds, and the breaking of them, represented the misappropriation of power by men and the power of women to free themselves and take their place as leaders in society. Similarly, Wonder Woman’s bare limbs were emblematic of her athleticism, strength, power and essential equality to make heroes. It’s hard to say that the depiction of Wonder Woman is completely free of sexual undertone, Marston wanted her to be beautiful. Lepore shows the clear link between the symbolism of Wonder Woman and the symbolism  of suffrage and feminism that Marston consciously referenced.

When Marston passed away in 1947, Wonder Woman fell into the hands of writers and editors who did not share his vision. She hasn’t been the same since. After World War II, the feminism she represented was not welcome in the broader culture or by the men who wrote her comics. Even after the second wave of feminism adopted her as an emblem in the 1970s, she’s not been quite at home. Perhaps we’ll have trouble getting Wonder Woman right as long as we have conflict about the roles of women in our culture.

If you’re interested in either comics or feminism, I recommend Lepore’s book. It is thoroughly researched and thoroughly readable.

If you’re interested in this book, you may also be interested in

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Reading Comics by Douglas Wolk

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Lepore, Jill. The Secret History of Wonder Woman. New York: Alfred A. Knopf, 2014.

The Age of Edison by Ernest Freeburg

For those of us who can remember a time not so long ago when we didn’t have telephones (computers really) in our pockets and the Internet was something few were connected to, even of those few who had computers in their homes, the current state of communication technology can seem revolutionary. This is tame compared to the changes wrought by technology that seems commonplace to us now. In The Age of Edison, Ernest Freeburg describes the amazing changes brought about in the 50 years following the introduction of electric lighting.

Though Thomas Edison is a huge figure in electric lighting, especially in the United States, Freeburg is careful to avoid the myth of the solitary inventor bringing an idea out of thin air. Many people were working on electric lighting.  Edison’s incandescent bulb had advantages over other lights, especially because he conceived of a complete lighting system with power sources, distribution and controls in addition to lamps. There were predecessors in the field, so Edison was working in a social context of seeking to provide superior lighting.

These competitors were not only other electric light inventors, but also older technologies, especially gas. Because electric power did not reach rural areas until the 1930s, much older artificial lights, like kerosene lamps, persisted even as electric lights became common in middle-class urban homes.

The first customers of electric lights were not homeowners, but businesses and cities who were already customers of lighting systems. These lights transformed cities, which various economic forces were causing to grow. From public lighting, electric systems were adapted to retail businesses, arts, entertainment, and science.

The early electric lighting market was competitive, unregulated, and wild. Electrocutions and fires were too common and widely publicized. Light companies were forced to improve safety by a political movement that supported municipal government control and ownership, and insurance company interests. This led to electric codes, the founding of the Underwriter’s Laboratory (UL) in 1893, college programs in electrical engineering, and the unionization of electrical workers.

Commercial interests dominated the early development of electric lighting. This was not the only reason electric lights had critics, but it was a significant reason. Intellectuals criticized the unartistic randomness of commercial messages seeking outshine each other. They were not especially successful in curbing electric lights, but the industry began to mature in this context and develop more attractive, effective and efficient lighting systems that were adapted to uses in homes and businesses.

Freeburg wraps up with Henry Ford’s 1929 jubilee of the invention of the incandescent electric lamp. In 50 years, the invention transformed almost every part of American life, especially urban life that was quickly becoming more common as people left farms for opportunities in cities. One of the telling things is that the event was broadcast on radio. In 1879, people huddled around candles and lanterns if they had to have light when the sun went down, but well within the span of a lifetime electric lights became dominant and electric appliances were common enough that radios were in homes and many were able to participate in a distant celebration of a transformative technology. It is hard to imagine how amazing these changes were to the people who experienced them.

If you’re interested in this book, you may also be interested in

Dreams of Iron and Steel by Deborah Cadbury

Freeburg, Ernest. The Age of Edison: Electric Light and the Invention of Modern America. New York: Penguin, 2013.

Fic by Anne Jamison

Have you ever finished a book, or series, or experienced the cancellation of a television show, and wanted more? Have you loved something you read or watched, but found some aspects frustrating or missing? That feeling has motivated people to write their own stories of characters or settings originated by other authors. This is fanfiction, or fanfic, or as English professor Anne Jamison puts it in the title of her book, simply Fic.

Fanfiction has a long history. Jamison starts her history with the first hugely popular, serial character in English literature, Sherlock Holmes. Arthur Conan Doyle’s stories inspired others to write their own tales of ratiocination, sometimes tongue-in-cheek, featuring the consulting detective and his physician companion, John Watson. Those with means sometimes had their works printed and circulated among friends. Other may have changed the names and sought to publish their stories.

Sherlockian fanfic introduces one the themes of the book, the relationship between authors, and their works, readers and publishers. Jamison traces how attitudes about these relationships have changed over time.

Another thing that changed over time, with significant effects on fanfic, is technology. The rise of television inspired fanfic based on media, rather than exclusively on written sources, particularly the in relation to Star Trek. Access to mimeographs and photocopiers allowed the community of fans to communicate, and distribute fanfic, through ‘zines.

The medium of choice for fanfic is now clearly the internet because it allows for such inexpensive and easy distribution. As an example of how the internet changed fanfic, Jamison turns to the example of Harry Potter, whose ascendancy in popular culture corresponded with the development of the internet as we know it. Twilight fanfic, in contrast to many others, was born in the age of the internet, and has been home to views that put it at odds with other fandoms, though such conflicts have been common as fandoms have expanded.

If you are unfamiliar with fanfic, you should probably be warned that a lot of it involves romantic and sexual pairings between characters who were not romantically involved in the source material. There is a lot of sex. There is every type of sexuality you can imagine, and possibly a few you’ve never heard of. Fanfic communities have provided an outlet for people to explore alternatives to the mainstream, often from the safety of some anonymity, especially in relation to sexuality. Interestingly, fanfic has been less adventurous in other areas, such as racial and cultural diversity, sticking close the relatively narrow diversity of the source media, though some fanfic attempts to depict a more diverse world.

Though I have only spoken of Jamison as the author of Fic, many contributed to the book. Most are writers with some connection to fanfic, and a few are academics. I would describe the book as semi-academic. It has the form of an academic book that describes the history and various aspects of a topic (fanfic) through a collection of related works by various authors. It is unlike typical academic books in that the style of all the contributors is personal and informal. Like fanfic is to its sources, Fic takes and academic form that is familiar and loved (at least by an academic) and brings to it something else that is loved, and even transformative.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Arthur & George by Julian Barnes

The Book of Lies by Brad Meltzer

Case Closed by Gosho Ayoama

Histories and Fallacies by Carl R. Trueman

How to Read Literature Like a Professor by Thomas C. Foster

Men of Tomorrow by Gerard Jones

The Sherlockian by Graham Moore

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Jamison, Anne. Fic: Why Fanfiction is taking Over the World. Dallas, TX: Smart Pop, 2013.

Moonwalking with Einstein by Joshua Foer

Have you ever wondered about those people who can remember names, phone numbers, birthdays and odd facts with ease? Some people have prodigious memories. How do they do it?

Joshua Foer began to ask these questions when he covered the 2005 U.S. Memory Championship for Slate. Within a few minutes, the mental athletes at this event could memorize a poem, a deck of cards or a thousand random numbers. A year later, he returned to that event as a competitor, and he won. Walking with Einstein is Foer’s recounting of his year of training in memory techniques and his exploration of the meaning of memory.

This book is not a manual on memory techniques, though Foer briefly describes them. You can find them described in more detail elsewhere. Many of the techniques are ancient, or elaborations on ancient techniques. The discovery of the primary technique is attributed to Simonides, a Greek poet who lived about 500 years before Christ. After the collapse of a banquet hall, which he narrowly escaped because he stepped out to greet a messenger, he discovered he could picture in his mind where every guest had been seated, and was able to identify the location of the bodies. Later authors built upon this idea of a “memory palace,” and it was widely used before the invention of printing.

The basic idea is simple. We have amazing capacities to remember locations and images, so just tie things we want to remember to an image and place. First, pay attention to what you want to remember (it may only take a second). Next, form a memorable image that will remind you of the thing you want to remember. The more outrageous the image is the better it will work. Serious mnemonists develop systems of images. Finally, “place” those images in a memory palace, preferably some real place you know very well. It turns out that the main thing may be the attentiveness all of this technique requires and the multiple paths to remembering you create.

Like Foer, I was disappointed that feats mental athletes perform are not things I want to do. I’d like to be better at remembering names, but all I may need to do to improve is pay attention. I’d like to be able to remember passages of text, but this is very difficult even using mnemonics.

The more interesting thing in the book turns out to be Foer’s exploration of the place of memory in our history and culture. In an age before books, and especially before indexed books, it was very difficult to store information anywhere outside of memory. Even if you read something on a scroll, it would not be easy to find it again. If you wanted quick access to something, you needed to memorize it. People would intensely study the few texts they had and got to know them very well, possibly memorizing them entirely.

Books made accessing information much easier and therefore remembering less important. The Internet has made tons of information accessible in an instant. We have shifted away from valuing intensive study to valuing extensive study, or being widely read. We don’t know as deeply, but we know how to access information for a variety of places.

Memory is not a valueless art in our age. Memorizing techniques engage the imagination to create memorable images. In reverse, our memories are the feedstock of our imaginations. Our creativity, innovation, and invention draws upon the things we remember and the many connections we form between memories. For a creative mind to invent, it needs to be stocked with useful memories.

Similarly, memory has value in defining ourselves. Who we are as an individual is largely defined by our habits and memories. In a sense, the more we remember, the fuller are our lives. Shared memories are part of how we relate to others, and shared knowledge is important to culture.

I started reading this book with an interest in improving memory. My takeaway ends up being that I want to be more attentive to life. I want to form the most vivid memories I can of the people and events that are important to me.

If you’re interested in this book, you may also be interested in

The Genius in All of Us by David Shenk

How to Talk About Books You Haven’t Read by Pierre Bayard

Idea Mapping by Jamie Nast

Your Intelligence Makeover by Edward F. Droge, Jr.

If you want to improve you memory, you may also be interested in a fish oil supplement.

Foer, Joshua. Moonwalking with Einstein: The Art and Science of Remembering Everything. New York: Penguin, 2011.

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