Month: May 2019

Exotica Continued

Last week, we looked at the beginning of Road & Track‘s Exotic Car Specials.  As you’ve probably surmised from our long-running project to watch the 1001 films you must see before you die, in order, we don’t do things halfway here at Classically Educated.  So today, we continue the Exotic Cars series with numbers 3 and 4.

Road & Track Exotic Cars 3

Our main criticism of 1 and 2, read so close together was that the editors seemed to be severely limited in the menu of cars they could choose from, which caused some repetition.

This is also true, to a much lesser extent in volume 3, although it’s clear that the editors made a conscious effort to minimize the effect.  They began to add German tuner cars, which I suppose is reasonable, but also included a couple of sedans that, even though they were a Mercedes and a BMW, I’m not entirely convinced qualify as exotic.

A lot of what is good about this issue has more to do with the fact that they had two new Ferraris to discuss, which is always a boon to people putting together a magazine dealing with exotica, than to the efforts of the staff…

Nevertheless, a hat must be doffed to whoever decided to include the Morgan (probably Simanaitis) and especially to the lunatic who decided to road test a Lola race car modified for street use.

The result, though still not quite mature, showed signs of steering the series in the direction that I remembered from my youth.

 

Road & Track Exotic Cars 4

In volume 4, the process extends even further.  Despite the inexplicable fact that the Maserati Biturbo, a car that was later reviled by almost everyone (I like it, but I think I’m the only one) was included again, making it a perfect four-for-four in these magazines and the head-scratching decision to include a Ford Scorpio, this one is the best yet.

Even though they didn’t have any major launches, the editors managed to juggle the usual suspects, mixed in with tuners and obscurities like Marcos and TVR to create a well balanced issue that is the best of the lot so far.  Another good decision was to drop the Road Test section.

But beyond the critical discussion of what is good and bad about these magazines, the fact that, just after the fuel crisis of the late seventies, and in the midst of regulatory upheaval that was making cars worse each year instead of better, Road & Track had the balls to launch a magazine celebrating cars whose only purpose was to go fast, look good and be enjoyed is laudable.

And among todays rash of humorless responsibility where any display of excess or wealth is frowned upon, these magazines are a joyful reminder that life exists to be enjoyed.  These cars are an expression of that fact, and should be celebrated, even if only by reading magazines devoted to them more than thirty years ago.

 

Gustavo Bondoni is an Argentine writer best known for his far future science fiction novel Siege.  You can check it out here.

Stealing Your Happiness… The Most Communist Movie Ever

In watching the 1001 movies in order, I will admit that, every once in a while, you come across a film that makes you ask why anyone would film it.  Did the director hate other human beings?  Did he belong to some sect that believes that humanity can only be saved it it falls into the deepest pit of utter despair?

The answers are never forthcoming, but all I can say is that Vittorio de Sica‘s Ladri de Biciclette (The Bicycle Thief) is one of those films.  It took me a couple of days to drag myself out of bed after watching it (OK, I’m exaggerating, but not all that much).

Ladri de Bicicletti

An Italian realist film in the mold of Roma, Citta Aperta, it has little of that film’s historical interest.  This one does have some interesting shots of postwar Rome, and looks at the lives of its citizens, but that’s about it.

What it does have, unfortunately, is melodrama by the trowel-load. Heaping one “woe is me” cliché onto the next, it meanders from suffering to suffering until it ends with a walk-away scene lifted straight from The Little Tramp.  Subtle, this thing was not.

Don’t believe me?  Let’s glance at the checklist.  Father who needs a job to support his young family?  Check.  Supportive wife who does everything she can to help, but is about to fly apart under the strain? Check.  Young boy who puts a brave face on everything, both the stuff he understands and the stuff he doesn’t, and also helps to support the family by working 12 hours at a service station?  Check.  Indifferent world that crushes everyone under its wheels?  Oh, yeah.

Ladri de Bicicletti Film Poster

Critics, of course, loved it.  They called it the best movie ever, and have been calling it one of the best since (which scares me a bit, because the fact that it lost first place must mean there’s something even more depressing out there).  They called it a very adult movie (which I kind of agree with; kids would be ruined by it forever) and also the most communist movie ever (which is interesting since communism is something more associated with idealistic adolescents than with adults).

Anyway, unless you’re planning to be a film director, give this one a miss and do something less depressing.

 

Gustavo Bondoni is a novelist and short story writer whose debut novel, Siege, has garnered good reviews (and one notable terrible review).  You can check it out here.

Exotica!

On Wednesday, we looked back at the very first Road & Track magazine.  It was an interesting start to a publication that later became an icon in its field, and if I can find the second volume, I’ll be having a look at that, too.

But in the meantime, I’m moving through a stack of Road & Track publications and came across the first two volumes in yet another innovation that they tried.  Namely, a Road & Track Special entitled Exotic Cars.

Now, most people wouldn’t have given these mags a second glance if they’d encountered them in a used bookstore, but I have a history with them.  Back when I was thirteen or so, and an avid R&T reader, I came across an edition of this special (I think it was number 8 in the series).  To my teenage eye, it was to the regular magazine what the Big Mac is to a regular McDonald’s cheeseburger (I was going to make an analogy involving the Moulin Rouge and today’s adult film industry but I stopped myself because I don’t want to give too much away about my teenage years…).

It was an object of pure desire, mainly because it held absolutely no news about economy cars or stuff your mother might drive.  It only held cars you lusted after, or utterly hated (continuing the Big Mac theme, those would be the pickles), gloriously photographed and described by people who, like yourself, couldn’t care less about the socially irresponsible message this kind of excess sent.  In your world, cars that went a bazillion miles an hour and cost a bazillion dollars were perfect, and why such a miserable vehicle as the Toyota Tercel existed was a mystery.

Long story short, I bought the magazines, and a bunch of others which I might discuss some other time.

Road & Track Exotic Cars 1

The first of these, released in 1983 was a very nice first effort and showed just how far R&T had come since its humble and unprofessional beginnings.  29 articles showcased 30 cars.  Sure, there were a few road tests culled from the pages of the magazine itself, but, for the most part, the articles were pure celebration of exotics with gorgeous color photography (most of the regular magazine was black and white in 1983).

I’d give this one near top marks for a first effort, and apparently the market responded well, because a second volume was soon to follow:

Road & Track Exotic Cars 2

This one landed on newsstands in 1984 and it was a mistake.  A beautifully produced and probably successful mistake, but a mistake.

The reason it’s an error was that, being released a year after the first, the editors had little time to dig for new veins of exotica.  Remember that, 35 years ago, you couldn’t go onto the internet to look up whether some little cottage industry in Denmark was building the vehicle you needed to beef up your magazine.  Also, coming out of the fuel crisis, there were fewer companies building amazing cars.

So there’s repetition… a lot of repetition. Of the 27 cars featured in articles or road tests from the main magazine, fully 14 were either tests of the same car as one that had been featured in Volume 1 or slight variations (perhaps a convertible version or a model-year upgrade) of the same.  Another couple were basically the same car with significant differences, so I didn’t count them.

To be fair, the editors seem to have realized this and created a segment about the carrozerias of the City of Turin, a nice little segment, but it wasn’t quite enough to mask the issue.  They also dug up a couple of new cars and some stuff they’d neglected the first time around… but the sense of “I’ve seen this before” was predominant.

Now, I read these in the space of three or fur days, which is not the way they’re meant to be read.  That year between editions should have been enough for people to forget what they’d read about where and make the content seem relatively fresh… but it didn’t hold up well over the years.

In spite of this, readers apparently enjoyed it and the series continued for several more years.  I’ll return to the subject soon.

 

Gustavo Bondoni is a novelist and short story writer whose latest book is Ice Station: Death.  You can check it out here.

The Beginning of a Classic Magazine

Road and Track June 1947

Those of us over about thirty years old will remember a time when a lot of our information about hobbies and interests came from reading magazines.  Today, magazines still often give us information that we can’t get online, so imagine how much more we relied on them in the early days of the net or even in pre-internet days.

Those of us that like cars will likely accept that, until fairly recently, Road & Track was the magazine of choice for the most discerning enthusiasts.  On one hand it was had a high-class, globalized outlook with one eye on Europe and Japan, while on the other it also commented on the American auto industry in depth.  In this sense, it achieved the best overview of the world scene… and it was the 500 pound gorilla in the room regardless of whether you were American, European or, as in my case, from  South America.

Yes, magazines like Car & Driver in the US or any number of local mags in Europe might have had more readers in their respective countries… but no one did it better globally.

So it’s interesting to pick up the first ever issue of the publication and see where it started from.

It’s surprising to say the least.

In 1947, many publications were less sophisticated than they are today, but Road and Track’s first issue is…

Well, it’s terrible.  You could tell they put the thing together on a shoestring and grabbed whatever articles and pictures they could find.  A nationalistic technical article by the great Laurence Pomeroy kicks it off–impeccable credentials, but the article itself was useless–and then a hodgepodge of other things, including a race report of a very minor hillclimb, the description of a foreign car dealership and a few photos.

These last are interesting, especially as they include pics of the Wilmille production car, but the overall effect gives the impression that they knew the starved postwar audience would pay for any kind of content, and grabbed what they could get, published it and called it an issue.

Interestingly, the mix of street and race cars continued into the 21st century… and probably contributed enormously to the publication’s success… interesting to see that it came about almost by mistake.

BTW, if you’re interested in seeing it for yourself, these mags are still pretty reasonably priced on Ebay and similar, and the first few issues were reprinted in facsimile editions (keeping everything, including the original advertisements, which are wonderful windows into the time), which makes it even cheaper to study a piece of history.

I’ll be looking at a few more of these over the next couple of weeks, as I find it interesting.  Hope some of you will come along for the ride.

 

Gustavo Bondoni is a novelist and short story writer.  His novel Outside deals with the possible ultimate consequences of the current transition from physical media to digital…  You can have a look here.

A Tale of Two Lions

A couple of years ago, I read one of the most delightful nonfiction books I can remember: A Gentle Madness by Nicholas Basbanes.  So it was with enormous pleasure that I began his second major volume.

Patience and Fortitude by Nicholas Basbanes

Patience and Fortitude, as most people are aware, are the names of the two marble lions that guard the entrance to the New York Public Library, which makes the title of this book particularly apt for what turned out to be (I intentionally avoided reading any synopsis) a history of the evolution of the library in the Western world, told in Basbanes chatty, anecdote-sprinkled style.

As with the first Basbanes book, I found this one engrossing.  It has the advantage that it deals with a subject that has a much wider appeal than insane book collectors but, at the same time, loses a little bit of the charm that the quirkier topic brought with it.

Nevertheless, it’s a wonderful volume which, in a mere 550 pages, gives you an overview of how ancient knowledge was stored and replicated and reached us, as well as telling us what a modern library looks like, and the issues facing it in the future (as seen in 2001, when the book was published).

It’s a good one, and it’s portable size allows one to read it anywhere but, for my money, the best book about libraries I’ve ever read is still this one.  Kinda hard to lug around on the subway, though.

I’d say the Basbanes is the right volume for those who’s like to read character-driven history of libraries.  The Campbell – Price for those who are a bit more visually oriented.  Both are wonderful, so don’t chose one or the other, buy them both and enjoy them.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  The plot of his thriller Timeless centers around a book and an ancient monastery, but it still manages to avoid resembling The Name of the Rose in any way.  You can check it out here.

Writing Life: Gustavo Bondoni’s Guide to Surviving Rejection

So, you’re a writer.  Congratulations.  And condolences.  While it’s one of the most rewarding things you can do with your life, it can also be extremely discouraging.  One of the daily realities of writers’ lives is that we deal with rejection all the time.  If you’re serious about writing, and your work is out there, you’ll need to learn how to deal with rejection on a daily basis.  More likely on a many-times-a-day basis.

What?  How can this be? I hear you asking Don’t you sell and sell and sell, all the time? What’s this about rejection?

Hmm.  Apparently I have to give away a dirty secret of the writing world, but first, I need you to do something for me: go look at a couple of writer’s blogs or websites.

Done?  Good.

You’ll probably have noticed that none of these people are mentioning rejection.

That’s because blogs and websites are the highlight reel.  Everyone gets to see our highlight reel, but we keep our blooper reels to ourselves (or maybe commiserate with other writers about it when no one else is listening).  We don’t tell you about our rejections because an image of success often breeds more success.

But behind those facades, rejections still happen; there’s too much talent competing for too few publication slots.  Something has to give.  That means that they happen a lot, and if you want to be a writer, you have to know that there will be some days when the rejections will grind you down to the bedrock.  Whether or not you continue as a writer depends on your capacity to ignore them and move on.

So, I will assume that your story is polished and all those other things everyone always blogs about and, without further ado, I give you my six secrets to surviving rejection:

1. Don’t pin all your hopes on a story that you’re sure will be your breakthrough.

It will most likely be rejected from the breakthrough market, not because it’s bad but because no matter what stage you’re at in your writing career, there are likely huge numbers of other talented writers who view that same market as their breakthrough.  That means that most times, things get rejected.

The hardest blow to get up from is usually the one that all your hopes were tied to.  The best way to avoid that is not to tie your hopes to any one response.  It’s hard to do, but it’s a critical survival skill.

 

2. Don’t pin your hopes on it, but send it to The New Yorker anyway.

It’s much better to be rejected than to wonder forever if they might have liked it if you hadn’t chickened out before sending it over.  This same thing goes for the dream literary agent.  Some people are making it through the door.  Why not you?

But don’t get your hopes too high!

 

3.  Write something else while you’re waiting.

The new story, the one you just finished writing, before you even edit it, is your new blue-eyed-boy.  It’s the bright star in your firmament and the apple of your eye.  I could go on with the clichés, but you get it.  Its shininess is what makes the rejection of something older seem less serious.

When you have something new to show, you can say: “So what if they hated the old crock I sent them two months ago?  Wait till they see this.”

 

4.  But if the old crock comes back with an email that contains the word “unfortunately” in it, get it back out there immediately.  It was once your blue-eyed boy, and if it’s good, it will sell.  If you trunk it, it won’t.

Besides, the act of sending it back out erases the rejection.  It becomes something to hope (without overdoing it, see point 1) will sell.

 

5. Celebrate everything.  For a good chunk of your writing career, rejection will make up the majority of your communication with the wider literary world.  So you need to raise a glass to anything that isn’t a rejection.

Sold a story? Agent asked to see your full MS?  Jump with joy!

Agent offered representation?  Faint… then jump with joy.

Got a story accepted to a non-paying market?  Celebrate it.  You will eventually move away from these, but it’s still an achievement.  They reject stories, too, and getting in is a sign that your writing is pretty good.

A book or magazine containing one of your stories was published?  Hooray!

Ditto a cover reveal!

Got a good review?  You’re buying the drinks today.

A bad review?  Celebrate anyway.  Reviewers don’t read just anything.  The fact that someone bothered to mention your work means you’re out there.

I think you get the point.

 

Bonus Advice, especially useful to those breaking in.

6. A rewrite request is something awesome.  Put it on top of your priority list.

Yes, I know you’re the second coming F.Scott Fitzgerald and the editor didn’t get the amazing artistry of your piece.  And yes, I know the rewrite they’re requesting will ruin the story.

You’re going to do the rewrite anyway.  The editor controls access to the market, and they knows their readers better than you do.  If you lose a sale because you didn’t want to do the rewrite… you’ve just made a career mistake and added another rejection to your list.  And the whole point here is to maximize the occurrence of everything that isn’t a rejection.

Besides, you’re not the second coming of F. Scott Fitzgerald.

 

 

Well, that’s my list.  Will it help you feel better about rejections?  Honestly?  Yeah, it does, but it won’t completely inoculate you against them.  You’ll still feel the sting, and sometimes, repeated application of that sting will grind you down.  When it does, the only thing that will save you is the quality of that bedrock I mentioned earlier.

The real writers, the ones that eventually work (or luck) their way into a career, are the ones that get up one more time than the literary world knocks them down.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  His best-known work is Siege, which you can check out here.

A Decade of Growth that Ended Horribly

Le Mans 1930-39 - Quentin Spurring

Le Mans 1930-39: The Official History Of The World’s Greatest Motor Race is certainly an impressive title.  But this is an impressive book.  It’s a race-by-race, team-by-team and car-by-car chronicle of what I consider to be the best race in the world, and while I wouldn’t necessarily recommend it to the layman, it does go well beyond the pure racing aspect and give a glimpse into the lives of the characters behind the race.  (If you want to see my review of the first book in the series, it’s here.)

In today’s world of polished multimillion-dollar (or Euro or Yen or Yuan) operations with corporate backing, the colorful character is all but absent in many aspects of motorsport, especially in po-faced F1 paddocks.  Le Mans is, to a certain degree an oasis where millionaire playboys right out of a Sidney Sheldon novel still drink champagne well into the small hours, but even this paragon of individuality can’t hold a candle to the way it used to be.

In the thirties, the cast of characters included rich boys, yes.  But it also included rich girls in numbers never seen before, backyard mechanics, British Nazi sympathizers, a slew of Italians who’d moved to France to escape Mussolini, the might of Hitler’s industrial complex and, of course, hundreds of thousands of wine-drinking spectators (those are still there).

With that volatile mix of people–has there ever been a more interesting case of such mixed social and political beliefs coexisting peacefully even while trying to beat each other?–the races themselves became almost a backdrop to the characters.

Almost.

This is Le Mans, and even when everything around it is a circus, the race forces you to take it seriously.  Heavily-favored cars break down.  The glorious Alfa coupe retires from the lead.  People die.  Others celebrate.  For a day, the outside stuff is forgotten, reduced to noise.

But eventually, the race ends and you have to get back to real life.  And when the 1939 race ended, it would be another 10 years before the next was run.  Quentin Spurring reminds us gently of what was to come, telling us that this or that race was the last for one or another of the drivers.  Especially powerful were the mentions of men who fought or flew in the War to come, or, in the cases of Robert Benoist or William Grover-Williams, men who joined the Resistance and where executed for it by the Gestapo.

Ignore the spoiled, millionaire crybabies of today who count a sprained ankle while training their greatest fear (witness the halo on F1 cars).  Racing drivers should be lions, men who live outside of society’s timidity and who, when the occasion calls for it are capable of great acts of courage, even outside the cockpit.

The best part of this book is probably that it reminds us that this is what they once were.

 

Gustavo Bondoni is an Argentine novelist and short story writer.  His latest novel, Ice Station Death is not likely to help him win the Nobel Prize for Literature… but it is guaranteed to entertain.  You can check it out here.