John Jeremiah Sullivan is a contributing writer for The New York Times Magazine and the southern editor of The Paris Review. He writes for GQ, Harper's Magazine, and Oxford American, and is the author of Blood Horses. Sullivan lives in Wilmington, North Carolina.
Pulphead
Paperback
- ISBN-13: 9780374532901
- Publisher: Farrar, Straus and Giroux
- Publication date: 10/25/2011
- Pages: 384
- Product dimensions: 5.00(w) x 7.50(h) x 1.10(d)
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A New York Times Notable Book for 2011
One of Entertainment Weekly's Top 10 Nonfiction Books of the Year 2011
A Time Magazine Top 10 Nonfiction book of 2011
A Boston Globe Best Nonfiction Book of 2011
One of Library Journal's Best Books of 2011
A sharp-eyed, uniquely humane tour of America’s cultural landscape—from high to low to lower than low—by the award-winning young star of the literary nonfiction world.
In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us—with a laidback, erudite Southern charm that’s all his own—how we really (no, really) live now.
In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV’s Real World, who’ve generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina—and back again as its residents confront the BP oil spill.
Gradually, a unifying narrative emerges, a story about this country that we’ve never heard told this way. It’s like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we’ve never imagined to be true. Of course we don’t know whether to laugh or cry when faced with this reflection—it’s our inevitable sob-guffaws that attest to the power of Sullivan’s work.
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The reader might wonder if there's a wink behind that sentence, if it's an invitation to see the same riddle in the varied, often strange subjects of Sullivan's essays. Sullivan, author of the phenomenal Blood Horses, Southern Editor of The Paris Review, and contributor to GQ and Harper's, has earned a reputation as a guy who nonchalantly goes wherever he feels like. Among Pulphead's essays are disquisitions on near- death experience, Axl Rose, Constantine Rafinesque, caves, Bunny Wailer, and the theory that animals are turning against us.
Don't make too much of the variety. William Hazlitt wrote about sundials and juggling, when not dilating on matters more easily understood as consequential. John McPhee has written magnificently on cattle branding, canoes, and, in 1967, long before every commodity needed its own 500-page panegyric, oranges. Topics like Christian rock, reality TV, Michael Jackson, and the proper way to approach obscure blues music, all addressed in Pulphead, wouldn't seem exotic except by juxtaposition with one another.
What makes an essayist brilliant isn't that he's all over the map, but that he always goes native and Sullivan always does. Perhaps the best example is his Pushcart Prize–winning essay "Mister Lytle." In this masterfully compressed Bildungsroman, Sullivan tells of his apprenticeship, at twenty, to the aged Andrew Nelson Lytle, a writer of the Southern Agrarian movement that included John Crowe Ransom, Allen Tate, and Robert Penn Warren.
The essay begins with Sullivan helping to construct Lytle's coffin, perhaps the only time literature and "workshopping" ever went harmoniously hand in hand. Living with Lytle, for that is the form Sullivan's apprenticeship takes, enlarges his perspective. "The manner in which I related to him was essentially anthropological. Taking offense, for instance, to his more or less daily outbursts of racism, chauvinism, anti- Semitism, class snobbery, and what I can only call medieval nostalgia, seemed as absurd as debating these things with a caveman. Shut up and ask him what the cave art means."
Sullivan recognizes the "self-service and even cynicism" of this approach, which is what places him above the ruck of most reporters. That he doesn't feel guilty about them makes him better still. Going native doesn't mean he has to stay there. In any case, the climax of this essay isn't the unwelcome, confusing, and confused sexual advance that ends his partnership with the old master. It's an earlier moment. Sullivan steals a look at a page of writing Lytle has been agonizing over, expecting to find something out of The Shining:
The sentence was perfect. In it, he described a memory from his childhood, of a group of people riding in an early automobile, and the driver lost control, and they veered through an open barn door, but by a glory of chance the barn was completely empty, and the doors on the other side stood wide open, too, so that the car passed straight through the barn and back out into the sunlight, by which time the passengers were already laughing and honking and waving their arms at the miracle of their own survival, and Lytle was somehow able, through his prose, to replicate this swift and almost alchemical transformation from horror to joy?. He never wrote any more. But for me it was the key to the year I lived with him. What he could still do, in his weakness, I couldn't do.That may have been true of Sullivan at age twenty, but now he can do a great many things with his prose. To give examples would be merely to catalogue, and to spoil surprises. Still, it's worth mentioning that "Getting Down to What Is Really Real" is not only the last word on reality television but also, in parts, Muscle Milk–snortingly hilarious: "Throwing carbonic acid on our castmates because they used our special cup and then calling our mom to say, in a baby voice, 'People don't get me here.' ?This is us, a people of savage sentimentality, weeping and lifting weights."
Or that "Upon This Rock," about a Christian rock festival, is brutally critical without being condescending and illuminates, through the example of Sullivan's own youthful experiences with religion, the progression from blind faith to a more fruitful skepticism. Or that Sullivan on the naturalist Rafinesque has written an ode to curiosity, and that Sullivan on his brother's near-fatal electrocution, on cave painting, and on animal intelligence evokes mysteries of time and consciousness that are difficult to explore without sounding like you've tumbled down the world's biggest bong.
There are just a few duds among these fourteen pieces, and "dud" is a deliberately relative term. Sullivan's failures make excellent reading. They are useful lessons in investigation and composition, too. "At a Shelter (After Katrina)," for instance, reveals that not even a mind as incandescent as his can stroll into an aftermath, collect an epiphany, and make it work in prose. Yet, if an aftermath must be documented, and it must, you could do worse than Sullivan. Maybe you couldn't do better.
Katrina, the excesses of the Tea Party (the subject of another essay here) these would yield, paradoxically, anybody's palest efforts. It is when Sullivan is doing his own thing, out on weird assignments a minor talent would have to beg just to write on spec, that he dazzles with his curiosity and insight. He's better at bringing a reader's interest to bear on his own obsessions than at inhabiting an interest the reader is obligated to share.
Truth is, political anger and sandwich boards and people coming together after disasters are important the way, say, recycling is important. Thinking about them is a dull duty, not a pleasure, and there is no original take. The virtue of Sullivan's best work is selfishness: He makes you care about whatever fires his passion.
Here, instead of a full exegesis of Pulphead, is a recommendation. Once in a while there comes a book one wishes could be assigned to the nation's schoolchildren. Pulphead is that kind of book. Perhaps it's because "Mister Lytle" performs, with penetrating sincerity, the function to which college essays only pretend. It's because the collection smacks, like David Foster Wallace at his reportorial best, of 3 a.m. bullshit gone right. It's impossible to imagine a young person reading it without delighted fascination, and then a guilty dawning that his own insights, displayed in a thought balloon, would look like a cartoon log being cut in half. Sullivan inspires his readers because he challenges them. Reading Sullivan at any age is a reminder of what a privilege it is just to think about stuff, about whatever you damn well please and of how fun.
A writer living in southern Connecticut, Stefan Beck has written for The Wall Street Journal, The New York Sun, The Weekly Standard, The New Criterion, and other publications. He also writes a food blog, The Poor Mouth, which can be found at www.stefanbeckonline.com/tpm/.
Reviewer: Stefan Beck
[Pulphead is] a big and sustaining pile of—as I’ve heard it put about certain people’s fried chicken—crunchy goodness . . . What’s impressive about Pulphead is the way these disparate essays cohere into a memoirlike whole. The putty that binds them together is Mr. Sullivan’s steady and unhurried voice. Reading him, I felt the way Mr. Sullivan does while listening to a Bunny Wailer song called ‘Let Him Go.’ That is, I felt ‘like a puck on an air-hockey table that’s been switched on.’ Like well-made songs, his essays don’t just have strong verses and choruses but bridges, too, unexpected bits that make subtle harmonic connections . . . The book has its grotesques, for sure. But they are genuine and appear here in a way that put me in mind of one of Flannery O’Connor’s indelible utterances. ‘Whenever I’m asked why Southern writers particularly have a penchant for writing about freaks,’ O’Connor said, 'I say it is because we are still able to recognize one.’” —The New York Times
“Sullivan’s essays have won two National Magazine Awards, and here his omnivorous intellect analyzes Michael Jackson, Christian rock, post-Katrina New Orleans, Axl Rose and the obscure 19th century naturalist Constantine Rafinesque. His compulsive honesty and wildly intelligent prose recall the work of American masters of New Journalism like Hunter S. Thompson and Tom Wolfe.” —Time
“Sullivan’s essays stay with you, like good short stories—and like accomplished short fiction, they often will, over time, reveal a fuller meaning . . . Whether he ponders the legacy of a long-dead French scientist or the unlikely cultural trajectory of Christian rock, Sullivan imbues his narrative subjects with a broader urgency reminiscent of other great practitioners of the essay-profile, such as New Yorker writers Joseph Mitchell and A. J. Liebling or Gay Talese during his ’60s Esquire heyday . . . [Pulphead] reinforces [Sullivan’s] standing as among the best of his generation’s essayists.” —Bookforum
“[The essays in Pulphead are] among the liveliest magazine features written by anyone in the past 10 years . . . What they have in common, though, whether low or high of brow, is their author's essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects' and his own foibles . . . a collection that shows why Sullivan might be the best magazine writer around.” —NPR
“One ascendant talent who deserves to be widely read and encouraged is John Jeremiah Sullivan . . . Pulphead is one of the most involving collections of essays to appear in many a year.” —Larry McMurtry, Harper’s Magazine
“Each beautifully crafted essay in John Jeremiah Sullivan's collection Pulphead is a self-contained world…Sullivan's masterful essays invite an honest confrontation with reality, especially when considered in light of one another….Pulphead compels its readers to consider each as an equal sum in the bizarre arithmetic of American identity . . . [Sullivan is] as red-hot a writer as they come.” —BookPage
The age-old strangeness of American pop culture gets dissected with hilarious and revelatory precision…Sullivan writes an extraordinary prose that's stuffed with off-beat insight gleaned from rapt, appalled observations and suffused with a hang-dog charm. The result is an arresting take on the American imagination.—Publishers Weekly (starred review)
The New York Times Book Review
The New York Times