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Off the Bookshelf
AUGUST 30, 1999:
End of an Age by Paul Graham (Scalo), $45 hard
If photographer Paul Graham is correct in his affirmation that the "best
of time is always now," that's only because he's probably slinking around some
dark German disco at this very moment, snapping candid photos of sexy young revelers.
The sweaty, cigarette-wielding socialites he presents in his collection End of
an Age are living on somber verges: The techno music is about to end, tomorrow
morning is fast on its way, and so, finally, is adulthood. The constant themes of
Graham's photos -- eerie redeye, solemnity tucked away amid chaos, the ritual hunt
for sex -- elevate seemingly banal boys and girls to nearly mythic symbols of some
of life's most weighty topics. Most importantly, the pensive subjects seem stoically
self-aware of their potential for beauty. The implied tragedy of these lives, though,
and the likely failure of the subjects to build on this fleeting potential make Graham's
series of images a compelling surprise. --David Garza
A Certain Age by Tama Janowitz (Doubleday), $23.95 hard
Tama Janowitz's A Certain Age is one of those novels that tries to pass
off heavy-handed cynicism as witty satire. With a structure loosely cribbed from
Edith Wharton's The House of Mirth, Janowitz spins the tale of the lamentable
Florence Collins, a 32-year-old beauty and good time girl who is frantically searching
for a rich husband in the wilds of Manhattan. Needless to say, Lady Luck never smiles
upon Florence. She gets mixed up with some of the nastiest creatures to ever lurk
the Hamptons. Everyone's a mover and a shaker willing to move and shake the hapless
Florence for their own nefarious means. It's tremendously hard to care for the nasty
caricatures Janowitz throws at the reader, including poor Florence. Janowitz also
shows little grasp of the intricacies of Wharton's original tragic satire and only
an intermittent talent for screwball comedy. A Certain Age may yield certain
occasional pleasures (nice descriptions of Florence's wardrobe, for example), but
it's mainly a heavily confected literary dud. --Stacy Bush
Zen Computer by Philip Toshio Sudo (Simon & Schuster), $22 hard
A fundamental component of Zen philosophy is the too-familiar yin-and-yang concept
of balance and harmony. The comparison between yin-and-yang and the binary chatter
of computers is a tempting one, and is the fodder for Philip Toshio Sudo's simplistic
Zen Computer: Mindfulness and the Machine. Sudo lists the instructions for
his "Zen Computer" and a basic overview of many Zen concepts, and then
breaks down a modern PC into components for use in analogies, koans, or anecdotes.
It's a perfectly reasonable task to attempt; the "dining philosophers"
problem of mismatched Zen masters and chopsticks is as old a joke in the computing
community as "the sound of one hand clapping" is to the koan crowd. Sadly,
Sudo's motives may be pure, but his implementation is sloppy. His introduction to
Zen philosophy reads as elegantly as any haiku, but the second section of the book's
component koans degrade quickly from witty to banal. --Matt Williams
Sciborg Sam and the Search for Extraterrestrial Intelligence by Alexander Uriostegui, $14.95 paper
The spirit behind Sciborg Sam is probably the only redeemable thing about
this self-published creation that should have stayed a sheaf of loose-leaf pages
stacked in Uriostegui's desk drawer. The plot, which excruciatingly details the exploitations
of a half-man/half-machine Sam and a duo of hapless spies, is never quite funny or
smart enough to be a satire of the science fiction genre. The loosely (very loosely)
fleshed-out characters make you almost wish that this were a graphic novel, but then
you would see just how insulting Uriostegui is to women and anyone of color -- which
could be forgiven if there were a point to it, but, unfortunately, there isn't. But
Sam is good for three things: a reminder that you can always publish
your own damn book, a lesson in the importance of "show, don't tell," and
a primer on the value of a good copy editor.--Adrienne Martini

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