This is the response to the e-mail I posted yesterday.
Hey Bob,
Thanks for the galleys. For some reason, I put aside the book I was reviewing, [title redacted], and got through your book rather rapidly onscreen.
All in all, a nice package. I would have preferred to see more broad history (no pun intended) and cultural hypothesis about porn—what motivates the consumers as well as the performers/creators—but that is either too obvious or too deep, I guess. You’re perched on a seat few share and in a real sense have authority to opine about porn as phenomenon; I woulda liked to have seen more. The blend of personal experience and general history overall works well, though, one buoying up the other.
Part of the game with those associated with your travails is playing who’s who, of course, and I was most surprised by the High Society stuff, which I’d forgotten. In any case, the portraits of both that operation and Swank Publications were pretty spot on. I understand the need to mix personas for privacy’s sake in a memoir, but I got lost with a couple of the characters. Not that that didn’t make them interesting in their own right; I was continually impressed with your ability to bring characters to life through detail, idiosyncrasies. By the way, I didn’t spot any doppelgangers—did I miss anything?
One factual point: recently researching the life of an author who wrote science fiction, CM Kornbluth, I came across mention of Martin Goodman’s 50s operations including first edition paperbacks of some sci fi classics (or near classics). It was the same profit setup as porn—crank out 200 manuscript pages per month for $x, publisher slaps on a lusty cover, repeat. I don’t have the book on hand anymore that references this (I borrowed it on interlibrary loan, being a poor academic), but it’s the only bio on CMK that exists. In any case, I thought this expanded the Martin story in a useful way—in his desire for profit and ability to sort talent, it’s almost as if he stumbled on these cultural pressure points (pleasure points?) and fostered entertainment industries (sci fi, porn, comics) that would loom large 50 years later. Maybe worth adding if you can.
I think you’ll understand why it’s best for me to refrain from public comment on this project, despite my enthusiasm. Thanks for the look-see and good luck.
Jack
To be continued…
Hey Bob,
Thanks for the galleys. For some reason, I put aside the book I was reviewing, [title redacted], and got through your book rather rapidly onscreen.
All in all, a nice package. I would have preferred to see more broad history (no pun intended) and cultural hypothesis about porn—what motivates the consumers as well as the performers/creators—but that is either too obvious or too deep, I guess. You’re perched on a seat few share and in a real sense have authority to opine about porn as phenomenon; I woulda liked to have seen more. The blend of personal experience and general history overall works well, though, one buoying up the other.
Part of the game with those associated with your travails is playing who’s who, of course, and I was most surprised by the High Society stuff, which I’d forgotten. In any case, the portraits of both that operation and Swank Publications were pretty spot on. I understand the need to mix personas for privacy’s sake in a memoir, but I got lost with a couple of the characters. Not that that didn’t make them interesting in their own right; I was continually impressed with your ability to bring characters to life through detail, idiosyncrasies. By the way, I didn’t spot any doppelgangers—did I miss anything?
One factual point: recently researching the life of an author who wrote science fiction, CM Kornbluth, I came across mention of Martin Goodman’s 50s operations including first edition paperbacks of some sci fi classics (or near classics). It was the same profit setup as porn—crank out 200 manuscript pages per month for $x, publisher slaps on a lusty cover, repeat. I don’t have the book on hand anymore that references this (I borrowed it on interlibrary loan, being a poor academic), but it’s the only bio on CMK that exists. In any case, I thought this expanded the Martin story in a useful way—in his desire for profit and ability to sort talent, it’s almost as if he stumbled on these cultural pressure points (pleasure points?) and fostered entertainment industries (sci fi, porn, comics) that would loom large 50 years later. Maybe worth adding if you can.
I think you’ll understand why it’s best for me to refrain from public comment on this project, despite my enthusiasm. Thanks for the look-see and good luck.
Jack
To be continued…