Narrative, a great online literary magazine, has a new issue out featuring a new story by Rick Bass and a classic by Frank Conroy. You can sign up for a free “subscription” to get access to the above stories as well as everything in their archives.
CBC journalist Ghazal Mosadeq recently returned to Tehran from Toronto and filed an audio report for the Dispatches program on the current state of publishing and censorship in Iran. Writers, readers and book-sellers are all trapped in a system of rules which are often tacit, confused and haphazard.Of particular interest is the lack of trust that has developed between reader and publisher as a result of years of censorship. Mosadeq also reports from a cemetery which contains the gravesite of twenty Iranian writers, some specifically requesting that they be buried there as a final chance to be separate from the repressive state. The government, meanwhile, tries to stop this, in an effort to avoid turning the cemetery into a shrine to its critics. Censored while alive; still censored after death.Hear the 8-minute audio dispatch here (RealPlayer)
Yesterday my friend Yakut emailed me the article "Federer as Religious Experience" by David Foster Wallace, which appeared in the New York Times' Play Magazine on August 20, 2006 (available here). Wallace penned an immaculate piece on Roger Federer, who also happens to be my favorite tennis player these days. As per his custom, Wallace resorts to 17 footnotes, provides detailed accounts of what he terms "Federer Moments" from the Nadal v. Federer Wimbledon Final of 2006, comments - in a tongue-in-cheek fashion, of course - on the Wimbledon Lawn Tennis Museum and the tournament's rules. It is a great ode to Federer, and contains a healthy rebuke of Nadal - who happens to be my least favorite pro these days. If you're a tennis - and DFW - fan, enjoyed his essays in Consider the Lobster, and do not have the guts to restart Infinite Jest just yet, but would like to continue reading some brilliant prose, you should definitely check it out.
Ed Champion has a nemesis, Time magazine book reviewer Lev Grossman, as we discover in Grossman's latest column. Though somewhat tongue in cheek, Grossman is basically asking bloggers to use their power for good. All in all, it's far more civilized than Steve Almond's pathetic attempted takedown of Mark Sarvas in Salon from a year ago, which read like a laundry list of Almond's insecurities. Grossman's essay and Ed's response make it clear that Grossman is an altogether more pleasant person than Almond and that the relationship between book bloggers and the literati has matured. As Ed notes in his brief response to Grossman, he (and other book bloggers) are regularly paid to pen book reviews in major newspapers. The lines are blurring. Oh, and I've met Ed. He's not that scary.
Its laudatory impulses notwithstanding, Louis Menand's worthwhile essay in the current New Yorker on Mark McGurl's The Program Era - an account of the rise of the creative writing program - doesn't quite save the book from sounding depressing. For those with ambitions to write fiction, Menand offers a whirlwind tour of a sausage factory. Except that in this case you're not the guy who likes to eat sausage, but the guy (or gal) who raises the hogs. Or maybe you are the hog itself. Reading Menand reading McGurl, you get the very same sense of a vast, tentacular, and mildly deterministic academic-industrial complex you might get in... well, a creative writing program. Which speaks to the characteristic thoroughness of Menand's writing. And, presumably, of McGurl's book.Largely absent from Menand's account (and Mark Grief's review in Bookforum), however, is the question of money. Even for those who agree emphatically with Menand that "there is no 'craft of fiction' as such," the value of two or three years of subsidized writing time is hard to understate. Rilke had the Princess of Thurn and Taxis; we have AWP. And though the rise of the M.F.A. program may well exert a systemic pressure on the writer, it need not, as Menand is at pains to point out, vitiate the visionary. By far my favorite nugget in the Menand piece is his mention of two workshops filled with idiosyncratic talent:Ken Kesey, Robert Stone, Larry McMurtry, Ernest Gaines, Tillie Olsen, and Wendell Berry taught by Wallace Stegner at StanfordJohn Irving, Andre Dubus, Gail Godwin, and John Casey taught by Kurt Vonnegut at Iowa.I've also heard tell of a workshop that includedJhumpa Lahiri, Ha Jin, Peter Ho Davies, and Marshall Klimasewiski taught by our guest contributor (and National Book Award finalist) Joan Silber at Boston University.If any of you out there have taken, or know of, similarly stacked workshops, we'd be curious to hear about them, if only as a way of letting M.F.A. applicants cling to a little of the glamor McGurl and Menand have done the rest of us the great favor of dispelling. Somehow the prospect of participating in an aesthetic of "class-based self-consciousness" pales next to the thought of getting drunk with Richard Ford and ripping on Jay McInerney... and hasn't that always been (along with the financial assistance, of course) the most compelling reason to apply to a writing program?
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