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Pulphead: Essays by John Jeremiah Sullivan

Pulphead: Essays (original 2011; edition 2011)

by John Jeremiah Sullivan

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Title:Pulphead: Essays
Authors:John Jeremiah Sullivan
Info:FSG Originals (2011), Edition: 1, Paperback, 384 pages
Collections:Your library

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Pulphead: Essays by John Jeremiah Sullivan (2011)



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Didn't finish it and it was due at the library. The few essays in this book were well written, I just wasn't interested at all in the topics of the essays.
  beckyface | Nov 22, 2015 |
Didn't finish it and it was due at the library. The few essays in this book were well written, I just wasn't interested at all in the topics of the essays.
  beckyface | Nov 22, 2015 |
Didn't finish it and it was due at the library. The few essays in this book were well written, I just wasn't interested at all in the topics of the essays.
  beckyface | Nov 22, 2015 |
Stylish in the best way. The Katrina essay is the best (non-disaster porn) real tragedy writing I've read.

I disagree with reviewers who called it uneven. The stories are not written for a homogenous audience. You will appreciate some essays more than others. Such is life.

Which would you rather read about for 30 pages, the filming location for One Tree Hill or Axl Rose? Real World cast members or ancient cave paintings? Pick and choose. All have brilliant approaches. ( )
  Alli.Broad | Jun 5, 2015 |
Magazine articles have assembled themselves into a book that presents fragments of the American experience for your reading pleasure. Visit a Christian music festival with an agnostic as your guide. Watch your brother report live from his near death experience. Consider the Michael Jackson specimen from birth, to plastic face to grave. Wonder about the potential for animal uprisings. Learn what it’s like to live in a house used as a TV show movie set. Pack it in your book bag. You’ll have something interesting to read while you’re waiting to talk to your psychiatrist. ( )
  sixslug | Jan 18, 2015 |
Showing 1-5 of 23 (next | show all)
It’s a neat trick—interrupt reportage with memoir to take the harsh spotlight of a straight profile and shine it on yourself for a moment. It’s also exceedingly difficult. It can go all kinds of wrong. And what better way to risk the rancor of your readers (and editors) than veering from “the biggest rock star on the planet..” to yourself at seventeen..? But for Sullivan and a precious few other writers—insert obligatory David Foster Wallace comparison here—the conceit unfolds beautifully. It clarifies and sharpens.
Among the best young nonfiction writers in English, the journalists and essayists whose bylines you avidly seek out in newspapers, magazines and online, John Jeremiah Sullivan probably isn’t (yet) in my personal Top 10 or 15. But I suspect that none of those other writers could have gathered together a book that’s as good as “Pulphead,” Mr. Sullivan’s brainy new collection of essays. It’s a big and sustaining pile of — as I’ve heard it put about certain people’s fried chicken — crunchy goodness.
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Amazon.com Amazon.com Review (ISBN 0374532907, Paperback)

Amazon Best Books of the  Month, November 2011: What a fresh and daring voice. John Jeremiah Sullivan is a dynamic and gutsy writer, a cross between Flannery O'Connor and a decaffeinated Tom Wolfe, with just the right dash of Hunter S. Thompson. In fourteen essays ranging from an Axl Rose profile to an RV trek to a Christian rock festival to the touching story of his brother's near-death electrocution, Sullivan writes funny, beautiful, and very real sentences. The sum of these stories portrays a real America, including the vast land between the coasts. Staying just this side of cynical, Sullivan displays respect for his subjects, no matter how freakish they may seem (see Axl Rose). Put another way: if Tom Waits wrote essays, they might sound like Pulphead. --Neal Thompson

Exclusive Amazon.com Interview:

(c) by Harry TaylorThough his stories have appeared for a decade in Harper's, GQ, and other magazines, John Jeremiah Sullivan wasn’t a recognizable name until Pulphead started landing on year-end best-books lists, including Time, the New York Times, and Amazon's Best Books of 2011. The New Yorker’s James Wood compares him to Raymond Carver - "with hints of Emerson and Thoreau." Elsewhere, Sullivan has been called the new Tom Wolfe, David Foster Wallace, or Hunter S. Thompson, or some combination of all three.

I prefer to think of him more as the Tom Waits of long-form journalism.

Description: http://static.typepad.com/.shared:v20111215.01-0-gf45a3bb:typepad:en_us/js/tinymce/plugins/pagebreak/img/trans.gifSullivan’s sportswriter father was an early and lasting influence. "The stuff he wrote was so weird, when I go back and look at it. It would almost have to be classified as creative non-fiction," Sullivan told me.

I asked Sullivan if his father encouraged him to become a writer.

"He did the smartest and best thing he could have done for me, which was to take a very coolly distant but encouraging attitude,” he said. “I think he could tell early on that it's what I was going to do, that I wasn't really suited for much else.

After college and a brief “lost period” in Ireland, Sullivan got an internship at The Oxford American magazine and spent a month in Mississippi, living in a brown-carpeted room at the Ole Miss hotel, with hookers conducting their business nearby.

One night, Sullivan told his editor, Marc Smirnoff, about his musician brother’s near-death electrocution from a microphone. Smirnoff suggested he write a story about it, giving Sullivan his first professional byline.

"It was just one of those things where somebody opens the door and steps aside and says, 'Don't f**k it up'," Sullivan said. "And that piece made a lot of cool things happen for me."

Cool things like bylines in Harper's, The Paris Review, and The New York Times Magazine.

Over the next decade he honed his reporting skills, his unique voice (personal not cynical, thoughtful not intellectual), and a particular interest in outliers. I asked: do you look for oddballs, or do they find you? "It probably betrays a weakness for grotesques," he said. "And grotesques give you little angles of insight into human nature. There are things they can't help exposing.

"Sometimes I take pleasure in writing about people who make it hard for you to see their basic humanity. It gives me a very clear task as a writer to insist on it."

Pulphead is filled with hunks of other people’s sometimes misshapen humanity.

"The things that can happen to people... it just blows your mind."

Four more questions for Sullivan:

Where do you work? "I used to be one of those people who could write anywhere but for the first time I've become real attached to this corner office in our house that’s become sort of a cocoon. I keep it real disgusting so nobody will ever want to come in here. My daughter will show it to friends, almost like you'd show somebody the dungeon."
Who are you reading? "It’s more about staying in constant contact with writing, always being into some writer. That keeps me inspired and it keeps me feeling like, when I sit down to write, it's part of a preexisting and ongoing conversation. It's not the scary void that people talk about of the white page. I do everything I can to cancel out that feeling."
You’re a fan of bourbon – can you write drunk? - "Drinking and smoking for me are useful for getting over humps. For cracking things open. But if I try to do it in a sustained way, it gets kind of sloppy and pudding-headed. So I have to introduce it into the process at the right moments … (Bourbon) gives you a little bit of that what-the-f**k feeling."
Do you think of yourself as a southern writer? "I'm not an authentic southerner by anyone's definition, and I don't self-identify as a southern writer … I'm interested in regionalism. The fact that I sort of grew up back and forth between the Midwest and the South, it sensitized me to the differences early on … Mainly I’m interested in the psycho-geography of regionalism, and how it gives shape to people's personalities.”

(retrieved from Amazon Thu, 12 Mar 2015 18:15:25 -0400)

"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"-- "A collection of nonfiction essays"--… (more)

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