During our discussion about Eric Tagliacozzo’s Secret Trades, Porous Borders: Smuggling and States along a Southeast Asian Frontier, one of my classmates coined a new term: “Cool-guy academic.” Which is to say, the type of academic — preferably as nerdy as possible — who focuses on “cool guy” topics like smuggling, piracy, drugs, organized crime and prostitution.
And I’m sitting there thinking, “guilty as charged.” With the exception of a few papers on nationalist historiography, every major project I’ve worked on in the last few years has been about sex, drugs or violence (or some combination of the above).
So I confessed.
“Why heroin? Why not rice?” a fellow student asked. At the time, I cracked a joke about actually wanting to find a job after grad school, unlike the PhD students in history I was surrounded by.
But it is a serious question. Take drugs, for example. An incredible amount of ink has been spilled about the role of opium and alcohol monopolies in financing and consolidating the colonial state. No one’s denying this revenue was important, but some recent scholarship suggests it may be exaggerated, or at least overemphasized. Meanwhile, other, less sexy, areas like rubber plantations and tin mining are seriously under-studied.
So I’ve been reflecting on my fascination with the ugly underbelly of society. Granted, I did have the ultimate cool-guy academic as my undergraduate advisor. But it goes back a lot further than that, and I think it’s fair to say that I wanted to work with McCoy because of my fascination with the illicit, rather than developing that fascination as a result of working with him.
I’ve been this way ever since I was a kid. I read every single holocaust book we had on the shelf, and anything else with comparably dark themes, from Bury My Heart at Wounded Knee to Shakespeare’s tragedies. A fascination, shall we say, for the morbid.
I’ve always seemed to want to fill my head with the most horrific information I can find. I’m not sure if that makes me a “cool guy.” But it definitely makes me something.
Cool-guy academics
I have mostly been doing things that, while important, don’t make for very interesting reading.
I got a new [old] bike yesterday, I sign a lease tomorrow, and will start moving to the East Bay after that. I finally made up my mind and made plans to go out to the East Coast for about a week in August.
Otherwise, I’ve been trying to explore the city, get a feel for the social scene, catch up on correspondence and generally enjoy having time in which I can do such things without feeling stressed or guilty about unfulfilled obligations.
I’ve been reading a lot as well. On my desk right now: Andrei Makine’s Dreams of my Russian Summers, and Miranda July’s No one belongs here more than you, very different books, both of which I’ve been enjoying.
I thought about putting up a picture of my bike, but decided I’m not feeling like that much of a nerd today. Maybe some time in the next few days, I’ll try to take a picture of it somewhere more interesting than the hallway.
In the spirit of trying to post more regularly even though I don’t have exciting things to talk about every day:
Noticed the following on the flyleaf of a library book (“Small Island” by Andrea Levy — not great but not bad):
“….in short, an encapsulation of that most American of experiences: the immigrant’s life.”
Unremarkable, you might think (and believe me, you’re glad I cut out the treacle that preceded that). And it would be, except that the book has nothing to do with the American experience. The story is about Jamaican immigrants in post-war London. As in: London, England. There is virtually no mention of America, except for a few brief anecdotes about a Jamaican serviceman’s experiences of America and Americans as torn by even more brutal, overt racism than Britain and the British.
So why do the publishers feel the need to do this? Do they have so little respect for American readers of literary fiction as to assume the book won’t sell if it isn’t labeled as an American story? (I assume the blurb was different in the British editions.) Did they just fail to actually read the book before trying to market it?
I’m expecting some guidance from my readers in the publishing industry…