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.
"Is starting a literary magazine a gamble?" editor Sean Finney asked a crowd of inebriated sophisticates and sophisticated inebriates at the NYC launch party for Canteen. The answer was lost in a wash of drink orders. Even if it turns out to be "yes," though, Canteen seems well positioned to walk away with a few chips. I'm not just saying that because publisher Stephen Pierson is funding this operation with his winnings as a poker pro, or because I contributed a story to the debut issue. Or okay, probably I am, at least partly. Still, Canteen offers readers an unusual mix of personal essays, fiction, poetry, and contemporary art.Andrew Sean Greer's remembrance of failed novels past and chef Dennis Leary's truly weird manifesto about the Restaurant of the Future are both funny and original. But careful attention to the visual is what strikes me as most promising about Canteen. Few literary magazines lavish such attention on full-color photography, painting, and illustration. Often, this is because editors want to focus attention on the text... and more power to them. But visual art and literature should have as much to say to one another today as they did in the heyday of Gertrude Stein. Finlay Printing, which used to print the late, lamented Grand Street, has produced a handsome successor. For more information, check out www.canteenmag.com.
Some weeks my New Yorker shows up on Tuesday; other weeks it doesn't arrive until the weekend. This week it showed up late, and that's why I'm writing about it even as it's being removed from news stands to make way for next week's issue. But I was glad to finally get to it, especially after noting that it was the summer fiction issue. But it's not the typical summer fiction issue and certainly doesn't fit the accepted idea of "Summer Reading." This issue is about war, and I'm glad that the New Yorker decided to put together an issue like this, since it is shockingly easy - three years after we invaded Iraq - to forget that this country is at war right now. It's also fitting since we've been discussing war quite a bit at The Millions lately. Last month I reviewed An Army at Dawn by Rick Atkinson, which led readers to help me compile lists of World War 2 fiction and nonfiction. Vasily Grossman appeared on both lists, and his story "In Kislovodsk" (not available online) is in this New Yorker. Also contributing is Uwem Akpan with "My Parents' Bedroom." Akpan was in last year's debut fiction issue.But more broadly, the issue is a nice reminder that as life goes on here in the States, war rages on in Iraq. The New Yorker has done this most vividly by providing "Soldiers' Stories: Letters, e-mails, and journals from the Gulf." The magazine has also created an audio slide show for the online version of the piece:This week, The New Yorker publishes a selection of letters, journal entries, and personal essays by soldiers, airmen, sailors, and marines who served in the current war in Iraq. The writings are part of a project sponsored by the National Endowment for the Arts called Operation Homecoming. An anthology of the work, edited by the historian Andrew Carroll, will be published this fall by Random House. Here, in an Audio Slide Show produced by Matt Dellinger, five of the servicemen read from their work, accompanied by their photographs.
I'm not really one to analyze the New York Times Book Review, but I noticed that the section got a couple of mentions in the journalism industry magazine Editor & Publisher. The first points out that the section's online version has introduced a new bestseller list, one devoted to politics. The usefulness of such lists aside, the introduction of a politics list highlights how important these books - often little more than lengthy screeds coming from the Left or Right - have become to the bottom line for the publishing industry. From the New York Times' point of view, it's "'The more best-seller lists, the better,' Sam Tanenhaus, editor of the Book Review, told E&P."Separately, E&P published a piece about the glowing review that the Times gave to The Greatest Story Ever Sold: The Decline and Fall of Truth from 9/11 to Katrina by its own columnist Frank Rich. As E&P puts it: Ian Buruma, the well-known author, in a front-page review, offers enthusiastic praise both for the book and most of Rich's commentary, which is extremely critical of the media for shirking its watchdog role in the runup to the Iraq war. The Times itself gets hit by its own columnist.So, to recap, the Times praises a book which is critical of the Times but is written by a Times columnist. It's a small world, no?
Reuters' "Oddly Enough" column ventures this week into the realm of literary history and intrigue: The mystery of Schiller's skull. When he died of tuberculosis in his forties, Friedrich Schiller, the eighteenth-century German Romantic poet, playwright, and philosopher, was buried in a mass grave. Several decades later, the mass grave was dug up and Schiller’s skull identified by comparison with his death mask and its size, and placed in a more distinguished tomb in the city of Weimar. In 1911, the mass grave was turned up again and another skull found that was claimed to be the real memento mori. This second skull was also placed in Schiller's tomb.Now, DNA researchers attempting to tell the true skull from the false by comparison with DNA samples taken from Schiller’s relatives, have discovered that neither is a match.In one of Lucian of Samosata's second century Dialogues of the Dead, Diogenes tells Pollux that in death, "man and man are as like as two peas... when it comes to bare skull and no beauty."So it would seem.
Again, the current issue of The New York Review of Books features one splendid fiction writer's meditations on another brilliant fiction writer Last his time, it was Eisenberg on Nádas; this time it's Zadie Smith considering the critical legacy of E.M. Forster, who provided the inspiration for On Beauty.As a novelist, Forster has suffered by comparison to his more conspicuously innovative contemporaries (for my money, Howards End is as much a technical achievement as that other Bloomsbury monument, Mrs. Dalloway); Smith suggests that Forster is underrated as a critic, as well.Perhaps his critical medium - BBC radio - made it easy to overlook Forster's seriousness; perhaps his characteristic modesty did as well. Still, we can learn much from Forster, and from Smith's appreciation of him:He could sit in his own literary corner without claiming its superiority to any other. Stubbornly he defends Joyce, though he doesn't much like him, and Woolf, though she bemuses him, and Eliot, though he fears him [...] Forster was not Valéry, but he defended Valéry's right to be Valéry. He understood the beauty of complexity and saluted it where he saw it.
The "My First Literary Crush" piece that Slate posted on Tuesday, in which various notable folks discussed the books that they swooned over in their younger years, has generated some great blog posts. Ed, Jenny and Liam (guesting at Old Hag) all wrote about their literary crushes. Before I get to mine, I noticed some entertaining juxtapositions in the Slate piece. In particular, it was interesting to see that George Eliot was a favorite of both Neal Pollack (who loved Middlemarch) and Christopher Hitchens (a fan of The Mill on the Floss).My first literary crushes, in high school, were for Kurt Vonnegut, T.C. Boyle and John Irving. In college, I first read Ernest Hemingway and was quite taken. Feel free to share your literary crushes in the comments.