Tom Lutz

A cultural history of the American attitude toward work cites the pivotal contributions of the Industrial Revolution in the formation of the modern work ethic, evaluating the current divergence between "worker" and "slacker" stereotypes.

A History of Loafers, Loungers, Slackers and Bums in America

Doing Nothing

A natural and cultural history of crying probes this phenomenon from every angle, using the work of philosophers, poets, scholars, scientists, anthropologists, and sociologists to trace the changing meaning of tears throughout the years. Reprint.

The Natural and Cultural History of Tears

Crying

Tom Lutz is on a mission to visit every country on earth. And the Monkey Learned Nothing contains reports from fifty of them, most describing personal encounters in rarely visited spots, anecdotes from way off the beaten path. Traveling without an itinerary and without a goal, Lutz explores the Iranian love of poetry, the occupying Chinese army in Tibet, the amputee beggars in Cambodia, the hill tribes on Vietnam’s Chinese border, the sociopathic monkeys of Bali, the dangerous fishermen and conmen of southern India, the salt flats of Uyumi in Peru, and floating hotels in French Guiana, introduces you to an Uzbeki prodigy in the market of Samarkand, an Azeri rental car clerk in Baku, guestworkers in Dubai, a military contractor in Jordan, cucuruchos in Guatemala, a Pentecostal preacher in rural El Salvador, a playboy in Nicaragua, employment agents in Singapore specializing in Tamil workers, prostitutes in Colombia and the Dominican Republic, international bankers in Belarus, a teacher in Havana, border guards in Botswana, tango dancers in Argentina, a cook in Suriname, a juvenile thief in Uruguay, voters in Guyana, doctors in Tanzania and Lesotho, scary poker players in Moscow, reed dancers in Swaziland, young camel herders in Tunisia, Romanian missionaries in Macedonia, and musical groups in Mozambique. With an eye out for both the sublime and the ridiculous, Lutz falls, regularly, into the instant intimacy of the road with random strangers.

Dispatches from a Life in Transit

And the Monkey Learned Nothing

Frank Baltimore is a bit of a loser, struggling by as a carpenter and handyman in rural New England when he gets his big break, building a mansion in the executive suburbs of Hartford. One of his workers is a charismatic eighteen-year-old kid from Liverpool, Dmitry, in the US in the summer before university. Dmitry is a charming sociopath, who develops a fascination with his autodidactic philosopher boss, as if perhaps, if he could figure out what made him tick, he could be less of a pig. Dmitry heads to Asia and makes a neo-imperialist fortune, with a trail of corpses in his wake. When DmitryÕs office building in Taipei explodes in an enormous fireball, Frank heads to Asia, falls in love with DmitryÕs wife, and things go from bad to worse.

Born Slippy

The Winter 2020 issue of the Los Angeles Review of Books Quarterly Journal is dedicated to Catharsis. Originally defined by Aristotle, catharsis is the process of purging emotions through art. It's a way of finally gaining relief or clarity. In this time of high tension, is there a new way to think about catharsis? How do we attain that difficult clarification or purging? For Aristotle, the tragic play was a vehicle of catharsis. What are some of the artistic vessels that provide catharsis for us in the modern age? Is it the reality show, the horror film, the Twitter rant?This issue will grapple with the very idea of catharsis, its definition and perhaps its redefinition in our contemporary era. What makes something cathartic and what are some of the ways in which our culture resists catharsis and holds on to complicated emotions? How is literature dealing with catharsis now and how do we think about it psychologically? Why do we require external outlets to confront our innermost emotions? This issue will examine the urge to purge, literally and figuratively.

Winter 2020: Catharsis, No. 25

Los Angeles Review of Books Quarterly Journal

Once again, Tom Lutz takes us to seldom-traveled corners of the world—the small towns of western Madagascar, the terraced rice fields in northern Luzon, the scattered homesteads on the Mongolian steppe, the hilltop churches on Micronesian islands, the riverside docks of Dhaka, Ethiopian weddings in Gondar, funeral pyres in Nepal, traditionalist karaoke bars in Bhutan—to bring us random reports of human kindness. You may never visit these places, but Tom Lutz will do it for you. And while global media may serve up a steady diet of division, violence, oppression, hatred, and strife, The Kindness of Strangers shows that people the world over are much more likely to meet strangers with interest, empathy, welcome, and compassion.

The Kindness of Strangers

Our culture values striving, purpose, achievement, and accumulation. This book asks us to get sidetracked along the way. It praises aimlessness as a source of creativity and an alternative to the demand for linear, efficient, instrumentalist thinking and productivity. Aimlessness collects ideas and stories from around the world that value indirection, wandering, getting lost, waiting, meandering, lingering, sitting, laying about, daydreaming, and other ways to be open to possibility, chaos, and multiplicity. Tom Lutz considers aimlessness as a fundamental human proclivity and method, one that has been vilified by modern industrial societies but celebrated by many religious traditions, philosophers, writers, and artists. He roams a circular path that snakes and forks down sideroads, traipsing through modernist art, nomadic life, slacker comedies, drugs, travel, nirvana, and oblivion. The book is structured as a recursive, disjunctive spiral of short sections, a collage of narrative, anecdotal, analytic, and lyrical passages—intended to be read aimlessly, to wind up someplace unexpected.

Aimlessness

Brad Fern

Adolescence can be a challenging period for youths, especially in today's world, where the ancient rites of passage that societies once used to turn their boys into men have disappeared. In an in-depth analysis of the Grimm Brothers' fairytale 'The Devils Sooty Brother,' therapists and teachers Brad Fern and Tom Lutz provide a practical and mythic outline for the journey from adolescence to maturity for young men.

The Alchemy of Mentoring the Delinquent Boy

Ashes to Gold

In a major statement on the relation of art and politics in America, Tom Lutz identifies a consistent ethos at the heart of American literary culture for the past 150 years. Through readings of Sherwood Anderson, Willa Cather, Hamlin Garland, Ellen Glasgow, Sarah Orne Jewett, Sinclair Lewis, Edgar Lee Masters, Claude McKay, Edith Wharton, Anzia Yezierska, and others, Lutz identifies what he calls literary cosmopolitanism: an ethos of representational inclusiveness, of the widest possible affiliation, and at the same time one of aesthetic discrimination, and therefore exclusivity. At the same time that it embraces the entire world, in Lutz's view, literary cosmopolitanism necessitates an evaluative stance, and it is this doubleness, this combination of egalitarianism and elitism, that animates American literature since the Civil War. The nineteenth century's realists and sentimentalists, the writers of the Harlem Renaissance and of the Southern Renaissance, the firebrands who brought in the new canon and the traditionalists who struggled to save the old all ascribe, Lutz argues, to the same cosmopolitan values, however much they disagree on what these values demand of those who hold them.

American Regionalism and Literary Value

Cosmopolitan Vistas

“I am inordinately proud of my travels and at the same time embarrassed by my pride in them. I feel alternately overflowing and empty, replete with gratitude for my good fortune, and abashed at the overentitled, obsessive nature of my need to continue. I feel sometimes like the most interesting man in the world, sometimes like the most obtuse. I am driven onward and yet, even as I chart my next adventure, I remain unsure why I should want to, unclear why I need to. And I do need to. The road beckons me, and always has. But am I running toward something? Running away? Is there a difference?” —from the foreword Tom Lutz is addicted to journeying. Sometimes he stops at the end of the road, sometimes he travels further. In this richly packed portmanteau of traveler’s tales, we accompany him as he drives beyond the blacktop in Morocco, to the Saharan dunes on the Algerian border, and east of Ankara into the Hittite ruins of Boğazkale. We ride alongside as he hitches across Uzbekistan and the high mountain passes of Kyrgyzstan into western China. We catch up with him as he traverses the shores of a lake in Malawi, and disappear with him into the disputed areas of the Ukraine and Moldova. We follow his footsteps through the swamps of Sri Lanka, the wilds of Azerbaijan, the plains of Tibet, the casinos of Tanzania, the peasant hinterlands of Romania and Albania, and the center of Swaziland, where we join him in watching the king pick his next wife. All along the way, we witness his perplexity in trying to understand a compulsion to keep moving, ever onward, to the ends of the earth.

Tom Lutz

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