Clearly, we can’t get enough of Ron Charles. And can you blame us? Even before his alter ego, the zany Totally Hip Book Video Reviewer, peered up at us through strips of raw bacon, the longtime book critic has been charming, disarming, and educating us every week in the pages of the Washington Post.
The winner of the 2008 National Book Critics Circle Balakian Award (hisacceptance speech ought to be required viewing), he’s beloved for his humility and playful prose, for his reviews that, in Scott McLemee’s words, “display a knack for characterizing the shape and style of a book. Charles writes about craft without turning his reviews into manifestos for a single school of it.”
We–the tragically unhip–catch up with Charles and chat about Peter Carey, pornographers, and the virtues of curbing your enthusiasm.
Where did the Totally Hip Video Book Reviewer come from?
I’ve always made short funny videos for my family, and I started toying with doing a new series featuring a character I called the Super Book Critic who imagined that he had superhuman powers (it mainly featured me getting books out of trees). The idea evolved, and my wife and I thought, why don’t we take the review in this week’s paper—it was Mona Simpson’s Hollywood—and film it in three or four minutes? We ran around the house, and I acted it out a bit. I put it up on YouTube and got something like 3000 hits in 24 hrs. The response was incredible. I’d expected to hear from my manager or someone on the 5th floor telling me, “Take this down. You’re embarrassing us!”—or worse. But instead I got a note saying that the Post video team wanted to produce and edit the videos. But that would have been a whole other job, and it would have to be very professional. Instead we’ve kept it as a very casual arrangement. Most weekends, my wife and I make a video and hand it in to my editors on Monday. The audience is not that large—
But we are fervent.
People are being very nice about it.
I especially enjoyed your review of Jonathan Franzen’s Freedom. Speaking of Franzen (what a segue!), with the Franzenfreude episode, increasing attention is finally being paid to how infrequently authors who are women and people of color are reviewed compared to their white, male counterparts. Is this something the Washington Post is trying to address?