If my college had offered a class on the New Yorker, I definitely would have taken it, but it didn’t, and, until today, I wasn’t aware that any colleges did. What a great idea for a class. Last fall, Prof. Bryant Mangum of Virginia Commonwealth University taught a class called Literature in Society: The New Yorker. Each class is constructed like an issue of the magazine with the assignments divided into these parts: Goings on About Town, The Talk of the Town, Features: Fact/Fiction, The Critics, Poems. Aside from the magazine itself, required reading includes classic New Yorker fiction. Perhaps coolest of all is Mangum’s Miscellany page which includes scans of a New Yorker rejection slip, note and check.
Last week, the internet buzzed about and puzzled over the newly unveiled cover of Jonathan Franzen’s Purity, forthcoming in September. While Franzen is sure to grab many headlines in the months to come, we’re also intrigued by Lauren Groff’s Fates and Furies, which also sports a cover with a blue and white color scheme. Along with the cover above, we have the book’s opening paragraphs below. Fates and Furies has so far been cryptically described as “an exhilarating novel about marriage, creativity, art, and perception,” and, as you’ll see, the book wastes no time, uh, introducing us to its protagonists.
Two people were coming up the beach. She was fair and sharp in a green bikini, though it was May in Maine and cold. He was tall, vivid; a light flickered in him that caught the eye and held it. Their names were Lotto and Mathilde.
For a minute they watched a tide pool full of spiny creatures that sent up curls of sand in vanishing. Then he took her face in his hands, kissed her pale lips. He could die right now of happiness. In a vision, he saw the sea rising up to suck them in, tonguing off their flesh and rolling their bones over its coral molars in the deep. If she were beside him, he thought, he would float out singing.
Well, he was young, twenty-two, and they had been married that morning in secret. Extravagance, under the circumstances, could be forgiven.
Her fingers down the back of his trunks seared his skin. She pushed him backward, walking him up a dune covered in beach-pea stalks, down again to where the wall of sand blocked the wind, where they felt warmer. Under the bikini top, her gooseflesh had taken on a lunar blue, and her nipples in the cold turned inward. On their knees, now, though the sand was rough and hurt. It didn’t matter. They were reduced to mouths and hands. He swept her legs to his hips, pressed her down, blanketed her with his heat until she stopped shivering, made a dune of his back. Her raw knees were raised to the sky.
He longed for something wordless and potent: what? To wear her. He imagined living in her warmth forever. People in his life had fallen away from him one by one like dominoes; every movement pinned her further so that she could not abandon him. He imagined a lifetime of screwing on the beach until they were one of those ancient pairs speed-walking in the morning, skin like lacquered walnut meat. Even old, he would waltz her into the dunes and have his way with her sexy frail bird bones, the plastic hips, and the bionic knee. Drone lifeguards looming up in the sky, flashing their lights, booming Fornicators! Fornicators! to roust them guiltily out. This, for eternity. He closed his eyes and wished. Her eyelashes on his cheek, her thighs on his waist, the first consummation of this terrifying thing they’d done.
A couple of years ago at my old job as a group of us frittered away the last hours of the night shift, my coworker Lucia, who runs the world’s coolest online book store, entertained us with a fun little trick. She discovered that if you take William Carlos Williams’ famous poem about chickens, “The Red Wheelbarrow,” and use Babelfish to translate from English into a foreign language and back to English, the results are quite amusing. Remembering this just the other day, I decided it would be fun to share this game with you:The original:So much dependsupona red wheelbarrowglazed with rainwaterbeside the whitechickens.English –> Dutch –> English:This way much hang from a red wheel wheelbarrow vitrified with rain water beside the white chickensEnglish –> German –> English:hangs as much after a red wheel truck off glazed with rain water beside the white chickensEnglish –> Japanese –> English:So side of the white chicken where the rainwater and the gloss which depend on the red monocycle can be appliedEnglish –> Portuguese –> English:thus very it depends in top of a red stand on hand of the wheel vitrified with water on rain to the side of the white hensEnglish –> Chinese (simp) –> English:Extremely is decided to a red wheel handcart to enamels with the rain water nearby the white chickenAnd finally… my favorite: English –> Korean –> English:Lapse in the rain adjacent waters which depends in the deep-red wheel grave the wheel me in the side of the white chicken
Amar Bakshi was about five years behind me at my high school in Washington DC, but he has my dream job, traveling the world to author a blog for the Washington Post, taking on the charged topic, “How the World Sees America.” I started reading it because of the high school connection (Amar is a friend of my little brother’s), but I’ve become an avid reader of it over time as Amar follows in the footsteps of some of my favorite traveling journalists: Jon Lee Anderson, Paul Theroux, and, of course, Ryszard Kapuscinski. Unlike those masters of the form, Amar also carries a video camera with him to further chronicle his experiences. Since starting in May, he’s been to England and India, and now he’s back in the States hashing out plans to travel farther afield. It’s an interesting experiment from a young writer. Worth a read if you’re looking for another blog to follow.
I stepped into a book store in the old city of Barcelona. It was spacious and well lit with dark wood shelves and floors. Many langauges were well represented including a wide selection of English language books. It is very easy to take a shot at American bookstores when comparing them to bookstores overseas, and it’s really remarkable to see the difference in person. I sometimes wonder what it would be like to be an expat, estranged from my country, but sometimes yearning for contact. I think I would spend a lot of time in a bookstore like that and it would fill the void for me. With the jet lag and all that, I was having trouble diving into another book. I guess I needed a change of pace to reflect the change of scenery, so I fished into the bag of books I brought with me and came up with this beauty: Jimmy Corrigan: The Smartest Kid on Earth by Chris Ware. I have always been drawn to certain of the visual story telling forms: typically not so much the action hero stuff, but certain “graphic novels” have caught my attention. I also like to flip through a collection of “newspaper funnies” from time to time, Calvin and Hobbes, for example, is always a delight. Rarely, however, have I encountered a book that transcends the genre like Jimmy Corrigan. This book has already received a chorus of praise and numerous awards. In a lot of cases, in fact, no one had ever considered that a graphic novel might be eligible to win certain of the awards, but this one was just too good to be ignored. I have been on a good stretch with books lately; I haven’t been disappointed in while, but my next book is a bit riskier: The Lonely Hearts Club by Raul Nunez… I’ll let you know how it goes…I’m off to Ireland tomorrow, and there might not be internet there, but I will try my best; if not, we’ll catch up when I get back to the states.
I heard from my friends in Iowa about the latest in the search for the Iowa Writers’ Workshop DirectorOn Feb. 24, Lan Samantha Chang was in Iowa for her “audition” for the Director position. During the mock-workshop portion of the presentation, Chang showed off her analytical skills rather than her personality, as previous finalist Richard Bausch had. There was a lot more in depth discussion about the stories that were critiqued, and Chang was adept at giving feedback and facilitating discussion. She talked about Frank Conroy, the current director, who is battling cancer right now, taking inspiration from his high standards for writing and teaching. She also quoted Marilynne Robinson, perhaps in homage to her own Iowa education, saying, “you have to have 3, if not 4, if not 5, reasons for putting something into a story.” Chang even discussed the aesthetics of words on a page. She talked about utilizing the power of the “white space” between sections, saying that the connection between two sections should, and can be poetic. She said at one point, “I’m a sucker for beauty.” If the workshop faltered at all it was in the discussion of a novel excerpt when Chang delved into more theoretical ideas that might be hard to put into practice. She read from her first collection of stories for the reading – again, perhaps giving a nod to her student days at the Workshop. It didn’t seem like anyone was blown away by her reading. Her work is quite sad and subtle, perhaps not the stuff of public performance. Chang’s craft talk was on novel structure – her first was recently published – which received mixed, but generally good reviews.Jim Shepard visited Iowa today, so hopefully we’ll get a report on him soonPreviously: Richard BauschUPDATE: Chang gets the job.
February 23rd marks the 20th anniversary of the original publication of David Foster Wallace’s Infinite Jest, and on that date, his publisher Little, Brown is putting out a new edition of the now classic novel with a new introduction by Tom Bissell. To recognize, as Little, Brown put it, ” the deep way that so many readers have connected with the book over the last twenty years,” the publisher held a contest allowing fans to submit their designs for the new cover.
The winner, we can reveal, is Ohio-based designer Joe Walsh, who has dispensed with the sky imagery that has adorned all prior U.S. editions of Infinite Jest. Walsh’s cover is spare and employs symbolic imagery with a playful undertone. After seeing the cover, we reached out to Michael Pietsch, CEO of Little, Brown parent Hachette Book Group, and David Foster Wallace’s editor, to get his thoughts.
The Millions: Beyond the commercial considerations, why is now the right moment to issue a new edition of Infinite Jest and what does the book have to say to today’s readers?
Michael Pietsch: I’m astonished that ten years have passed since our 10th anniversary edition with a foreword by Dave Eggers. It’s the publisher’s job to find ways to keep books fresh, and an anniversary like this seemed an unmissable occasion to highlight how alive the book still is. Infinite Jest is embraced and discussed by ever larger numbers of readers with each passing year. This new edition is a celebration of that vitality and an invitation to those who haven’t yet turned the first page.
The book’s main ideas—that too much easy pleasure may poison the soul, that we’re awash in an ocean of pain, and that truly knowing another person is the hardest and most worthwhile work in the world—are truer now than they’ve ever been. Tom Bissell’s brilliant new Foreword calls attention to this far better than I can.
TM: Why did Little, Brown decide to go with a fan-designed cover and what would David have made of that decision?
MP: The internet has made it possible to see the massive amount of creative response readers have to Infinite Jest. I’d seen a lot of art connected to the book online, and it seemed that allowing readers who have loved it to submit cover designs for the anniversary edition was a way of honoring and highlighting all that creativity.
I never presume to comment on what David would have made of this or any other aspect of our work. The David Foster Wallace Literary Trust wholeheartedly supported the idea of inviting fans to submit cover art.
MP: David sometimes made suggestions for cover art. For Infinite Jest he proposed using a photo of a giant modern sculpture made of industrial trash—an interesting idea, but one that our creative director felt was too subtle and detailed to work as a cover image. The cover image for the paperback of A Supposedly Fun Thing I’ll Never Do Again is one he suggested, and that I’ve always loved.