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We’ve collected the books debuting on Indiebound’s Indie Bestseller List for the week ending October 12, 2014–a sneak peek at the books everybody will be talking about next month.

(Debuted at #2 in Hardcover Fiction) Lila by Marilynne Robinson: “Lila, homeless and alone after years of roaming the countryside, steps inside a small-town Iowa church—the only available shelter from the rain—and ignites a romance and a debate that will reshape her life. She becomes the wife of a minister, John Ames, and begins a new existence while trying to make sense of the life that preceded her newfound security.” (October 2014)

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Who are the strays in Emily Bitto’s literary novel, The Strays (Affirm Press)? The new Melbourne Modern Art Group tries to set up a bohemian utopia paralleling Sunday and John Reed’s Heide group, or Norman Lindsay’s enclave, on affluent Evan and Helena Trentham’s property during the Depression. Patrick is a stalwart and Ugo, Maria and […]

I’m not really interested in giving people a quick introduction; I tend to mix my personal life, humour, sarcasm and knowledge into my book reviews and blog posts. However I do want to kick off talking about the book that turned me into a reader.  It wasn’t until 2009 that I discovered the joys of books and reading and something inside me clicked and I wanted to consume every book I saw. This life changing event was all because of one book, an Australian non-fiction title called Hey! Nietzsche! Leave Them Kids Alone! by Craig Schuftan.

At the time I listened to a lot of music and would have cited AFI, My Chemical Romance, Weezer, and so on as some of my favourite bands. In face I was right into the music that was been played on Triple J. Craig Schuftan was a radio producer at Triple J at the time and there was a short show he made for the station called The Culture Club. In this show he would talk about the connection rock and roll has to art and literary worlds. Friedrich Nietzsche was claiming, “I am no man, I am dynamite” well before AC/DC’s song TNT.

That was a real revelation for me and I picked up Hey! Nietzsche! Leave Them Kids Alone! (subtitled; The Romantic Movement, Rock and Roll, and the End of Civilisation as We Know It) and began reading it. However it didn’t stop there; this book connected the so called ‘emo’ movement with The Romantic Movement, I never thought these bands would have anything in common with the greats like Lord Byron, Percy Bysshe Shelley or John Keats but I had to find out.

Hey! Nietzsche! Leave Them Kids Alone! by  Craig Schuftan ended up taking half a year to complete; not because I was a slow reader but I wanted to know more,and  I read poetry by Lord Byron, Percy Bysshe Shelley and John Keats, and researched online. I picked up books like Frankenstein (an obsession of mine), Dracula and Wuthering Heights just because they were mentioned. This was a weird turn in my life but my growing thirst for knowledge became an obsession with reading. I have now set a life goal to read everything on the 1001 Books you must read before you die list.

It is weird to think one book can have such a huge impact on my life but I credit Craig Schuftan (and my wife) for such a positive improvement in my life. I will eventually read Craig Schuftan’s books The Culture Club: Modern Art, Rock and Roll and other stuff your parents warned you about and Entertain Us!: The Rise and Fall of Alternative Rock in the Nineties but I’ve put them off because I suspect the same amount of research will be involved.

Has a book had such a positive impact in your life? I would love to know in the comments. Also are there any other books that explore the connections between art and literature with pop-culture?

By Christopher Page

I am struck by the way the recent issue of Early Music devoted to the early romantic guitar provides a timely reminder of how little is known about even the recent history of what is to day today the most popular musical instrument in existence. With millions of devotees worldwide, the guitar eclipses the considerably more expensive piano and allows a beginner to achieve passable results much sooner than the violin. In England, the foundations for this ascendancy were laid in the age of the great Romantic poets. It was during the lifetimes of Keats, Shelley, Byron, and Coleridge, extending from 1772 to 1834, that the guitar rose from a relatively subsidiary position in Georgian musical life to a place of such fashionable eminence that it rivalled the pianoforte and harp as the chosen instrument of many amateur musicians.

What makes this rise so fascinating is that it was not just a musical matter; the vogue for the guitar in England after 1800 owed much to a new imaginative landscape for the guitar owing much to Romanticism. John Keats, in one of his letters, tellingly associates the guitar with popular novels and serialized romances that were shaped by the interests of a predominantly female readership and were romantic in several senses of the word with their stories of hyperbolized emotion in exotic settings. For Byron, a poet with a wider horizon than Keats, the guitar was a potent image of the Spanish temper as the English commonly imagined it during the Napoleonic wars and long after: passionate and yet melancholic, lyrical and yet bellicose in the defence of political liberty, it gave full play to the Romantic fascination with extremes of sentiment. For Shelley in his Poem “With a Guitar,” the gentle sound of the instrument distilled the voices of Nature who had given the materials of her wooded hillsides to make it, but it also evoked something beyond Nature: the enchantment of Prospero’s isle and a reverie reaching beyond the limitations of sense to “such stuff as dreams are made on.” As the compilers of the Giulianiad, England’s first niche magazine for guitarists, asked in 1833: “What instrument so completely allows us to live, for a time, in a world of our own imagination?”

Given the wealth of material for a social history of the guitar in Regency England, and for its engagement with the romantic imagination, it is surprising that so little has been written about the instrument. It does say something about why England is widely regarded as the poor relation in the family of guitar-playing nations. The fortunes of the guitar in the early nineteenth century are commonly understood in a continental context established especially by contemporary developments in Italy, Spain, and France. To some extent, this is an understandable mistake, for Georgian England received rather more from the European mainland in the matter of guitar playing than she gave, but it is contrary to all indications. But we may discover, in the coming years, that the history of the guitar in England contains much that accords with that nation’s position as the most powerful country, and the most industrially advanced, of Western Europe at the close of the Napoleonic Wars.

There is so much material to consider: references to the guitar and guitarists in newspapers, advertisements, novels, short stories, poems and manuals of deportment, the majority of them published in the metropolis of London. The pictorial sources encompass a great many images of guitars and guitarists in a wealth of prints, mezzotints, lithographs, and paintings. The surviving music comprise a great many compositions for guitar, both in printed versions and in manuscript together with tutors that are themselves important social documents. Electronic resources, though fallible, permit a depth of coverage previously unattainable. Never have the words of John Thomson in the first issue of Early Music been more relevant: we set out on an intriguing journey.

Christopher Page is a long-standing contributor to Early Music. A Fellow of the British Academy, he is Professor of Medieval Music and Literature in the University of Cambridge and Gresham Professor of Music elect at Gresham College in London. In 1981 he founded the professional vocal ensemble Gothic voices, now with twenty-five CDs in the catalogue, from which he retired in 2000 to write his most recent book, The Christian West and its Singers: The first Thousand Years (Yale University Press, 2010).

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Image: Courtesy of Christopher Page. Do not use without permission.

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Happy Lord Byron’s Birthday! The 224th this year. The book I’m working on is about him, which is how I know; but even if you haven’t been spending an inordinate amount of time thinking/writing about a long-dead Romantic poet, his birthday would make a great, wider holiday. I wish it’d catch on, possibly in lieu of some other winter holiday that’s either dull (Presidents’ Day) or mostly makes people unhappy (Valentine’s). So many ways to observe it. Ill-advised sleeping around, most obviously; pistol-shooting around the house; planning elaborate burial tombs for one’s pets; commissioning a Napoleonic carriage (or equivalent) and taking it abroad without ever paying for it; etc. etc. I wasn’t sure how I’d celebrate, but this morning settled on a mall trip for some Touche Éclat — as purchase of overpriced item bought in vain (both senses of the word) hope of staving off 40-something inevitableness of looking like I’ve been up all night being ass-reamed by a family of giant squid seems right in line with the spirit of the day. 

Astronomers released a new report this past week. http://news.yahoo.com/under-frankenstein-moon-astronomer-sleuths-solve-mary-shelley-201601341.html/

Rumor has it that these researchers play with scientific private investigation in their spare time. They snag one literary allusion at a time, hoping to find the possible authentic astronomical event to which it refers.

“A group of astronomers used some crafty celestial sleuthing to put to rest a 19th Century mystery surrounding the events that inspired Mary Wollstonecraft Shelley, author of the classic novel “Frankenstein,” to pen her tragic tale of the infamous monster.

Astronomers from Texas State University-San Marcos delved into Shelley‘s own description of what moved her to write the legendary story, in hopes of solving a long-standing controversy over whether the account is true, or if the author took some liberties in her re-telling of what happened.”

This new investigation report deals with Mary Shelley’s assertion that she witnessed the full moon from her bedroom window and “…had a waking dream” in which the story of Frankenstein came to her fully realized. Consider for the moment how minor that singular statement really is. It’s peculiar that such a controversy would surround it for two centuries, but it has.

If these researchers spend their spare time investigating such allusions throughout literature to find the truth of them, how long does it take to get all the evidence Yay or Nay on a given investigation? When one thinks of the sheer numbers of such literary statements used over the years, it’s easy to understand that these intrepid scientists will never go without a project that fascinates them.

What does an investigator look for? The creative non-fiction world of writing alone is a treasure chest filled with bits and pieces of factoid information. Getting hold of someone else’s account of the event(s) written about would help to verify or negate said event. Journals and diaries work for this type of search.

Of course, the investigator would have to first identify those who would have witnessed the event. That could take years; depending on what year the event took place. Only after that could the scientist take the field, so to speak, to do the calculations necessary to validate whether the event might have happened during a specific or approximate date in time. Without that verification, the reader has no way to trust the story’s 2 Comments on Literature’s Scientific Investigators, last added: 10/4/2011