If you’ve seen the film High Fidelity, you may remember the scene where John Cusack’s character, Rob Gordon, explains his autobiographical cataloguing system for his vinyl collection. He indexes his records by mentally tagging them with neurotic pieces of personal information. It’s a tad obsessive—and totally comprehensible. Over at HTMLGIANT, Roxane Gay reveals an autobiographical index of her book collection:

I bought The Book of Night Women because I’m from the Caribbean and Maud Newton said it was great, on her blog. I bought Then We Came to the End because I love writing from the collective point of view and I wanted to see if the book was as good as the hype. It was. I bought Revolutionary Road because the movie came out and I thought, “I bet the book is better.” It was.  I bought American Wife by Curtis Sittenfeld because intensely disliked Prep, as in, I have a visceral reaction just thinking about the book and I wanted to see what kind of reaction I would have to American Wife. I quite enjoyed it. It’s a slow, subtle book but well worth the read. I bought Gotham Diaries because I read in Entertainment Weekly that Spike Lee’s wife had co-written the book and I wondered if it was any good. Not so much. I could go on. For almost every book in my collection, I remember why I bought it, what was going on in my life, who I was in that moment.

Source: HTMLGIANT

Image by ♥ellie♥, licensed under Creative Commons.

Got space for thousands of zines? The Papercut Zine Library—which lends an unusual collection of 7,000 zines, indie books, periodicals, and audio/visual materials in addition to hosting community events—is looking for a new home in the Boston/Cambridge area. The collective-run, free lending library lost its space in Cambridge’s Democracy Center on August 15. It had operated there since May 2005.

As outlined on the collective’s Myspace page, Papercut is looking for at least 180 square feet of space in an accessible area. Joining an existing community/arts/organizing space is an option, and so is renting low-cost commercial space. There’s just one absolute: “that the freedom to make decisions about the library’s internal operation stay within our collective. That is, we are not interested in another library absorbing our collective if it means the collective will not be involved.”

Anyone who has ideas or tips should get in touch with Papercut.

Source: Papercut Zine Library

(Thanks, BoingBoing.)

Image by gruntzooki, licensed under Creative Commons.

Natural history museums have traditionally measured their worth by the breadth of their physical collections. With all the digital projects that archive scientific information, these holdings may seem outdated or superfluous. Carl Zimmer thinks museums still have an important role to play in the future of science research and education, though, and writes for Seed about the importance of maintaining their real-world collections.

Digital projects like the The Encyclopedia of Life, which catalogues the work of natural history museums digitally, are evolving into stiff competition for museums. These digital resources are often less costly to maintain than regular museums, and they can sometimes reach larger audiences.

Zimmer hopes that the existence of resources like EOL won't discourage museums from taking care of their physical collections. He cites a recent case of an set of Neanderthal bones in a German museum: After languishing in storage for 150 years, scientists found them, took DNA samples, and were able to draw new insights about our evolutionary relationship to Neanderthals. Preserving physical museum collections, then, is not just a nod to the past, but a way of claiming “a stake in our future.”  

Image courtesy of Christian Guthier, licensed under Creative Commons.

Sources: Seed

Houghton Mifflin recently published its 2008 edition of The Best American Essays with Adam Gopnik serving as guest editor. The Best American series is always a good showcase of the year’s finest offerings in a genre, and a reliable gauge of each form’s contemporary direction.

While this collection is led, as usual, by standout pieces from the New Yorker and Harper’s, it also culls some brilliant offerings from smaller magazines and literary journals, providing a modest cross-section of the essay-writing talent in the independent press. Pieces from PMS (Poem Memoir Story), Transition, Pinch, Swink, and Open City have all made the cut.

Part of the fun of these collections for essay-geeks like me is to see which luminary they’ve invited to guest edit. David Foster Wallace presided over last year’s collection, and the essays he chose had an immediacy that previous editions lacked; several of them addressed pressing issues like war, class, and politics, contradicting the frequent charge that personal essays are too solipsistic.

Gopnik’s introduction is similar to previous editions’ in that it makes a compelling case for the importance of good nonfiction in today’s literary world, and continues to defend the form—especially the subgenre of memoir—against the too-frequent charge of self-indulgence. But Gopnik provides a solid argument about the universal urgency of even the most personal essay:

Certainly people attack the memoir, and the memoir essay, in exactly the way people once attacked the novel. . . as vulgar and above all self-indulgent. But “self-indulgent,” fairly offered, means that expression is in too great an ascendance over communication. . . .In truth, the impulse to argument that is part of the essay’s inheritance. . . makes the memoir essay, even of the mushiest sort, the least self-indulgent of forms, the one where the smallest display of self for self’s sake is practical. A novelist can muse motionlessly for pages on the ebb and flow of life, but if an essayist hasn’t arrived at the point by the top of page three. . . if the leap into a higher general case, from the specific “I” to the almost universal “you” doesn’t take place quickly, the essay won’t work. . . . Memoir essays move us not because they are self-indulgent, but because they are other-indulgent, and the other they indulge is us, with our own parallel inner stories of loss and confusion and mixed emotions.

Gopnik and the series editor, Robert Atwan, have chosen big names like David Sedaris, Lauren Slater, and Jonathan Lethem to sit alongside relatively obscure writers: Joe Wenderoth, Patricia Brieschke, and the British-Sudanese novelist Jamal Mahjoub.

I’m personally hoping John O’Connor’s “The Boil” makes it into next year’s collection—but I won’t hold my breath.