Ta-Nehisi Coates calls Doctorow sire (in his post E.L. Doctorow – Badass M.C.) Back in grad school, we just called him “The Funk Doc.”
Last week, I mentioned Look Who’s Back by Timur Vermes, which caused a stir in Germany with its tale of a time-hopping Hitler. Now, Daniel Torday reviews the book for the Times, judging it both for its historical research and its merits as a work of fiction. Sample quote: “The German public’s acceptance of the artist they think they’re watching provides a critique of pop culture. But it feels like bringing the Luftwaffe to a knife fight.”
“Love / is the only fortress / strong enough to trust to.” Mary-Kay Wilmers for the London Review of Books reviews Holding On Upside Down: The Life and Work of Marianne Moore. In the book, Moore’s slightly-bizarre domestic life is examined with fairness and honesty alongside her impressive body of work. If poetry is your thing, check out our On Poetry column for more.
Litquake, the West Coast’s largest literary festival, now offers downloadable bi-monthly podcasts via their website and iTunes. On the site presently are episodes with Geoff Dyer, Carolyn Burke, Adam Johnson, Joshua Cohen, and Molly Ringwald, and the group plans to livestream and post events from their upcoming festival (Oct. 5-13) as well.
Feeling a bit too happy lately? Want to be utterly bummed out? Then read through this assortment of depressing graphs, provided by Rebecca Makkai. They include graphs about MFAs, a bar graph about book clubs, and a pie chart expressing the probability that you are Alice Munro.
New this week: Lincoln in the Bardo by George Saunders; Shadowbahn by Steve Erickson; The Fortunate Ones by Ellen Umansky; All That's Left to Tell by Daniel Lowe; The Weight of Him by Ethel Rohan; The Dark Flood Rises by Margaret Drabble; and Be My Wolff by Emma Richler. For more on these and other new titles, go read our most recent book preview.
Over at Ploughshares, Daniel Peña traces a parallel between Maggie Nelson’s The Argonauts and Gloria Anzaldúa’s hybrid text Borderlands/La Frontera: The New Mestiza. As he puts it, “To separate Anzaldúa from the larger canon (and subsequently from those books she influenced) is to ignore her contribution to American literature. It’s to say she doesn’t belong in that kind of highbrow conversation, which she so obviously does—even Nelson acknowledges that she does.”
In an effort to diversify the comics industry, Marvel's latest superhero isn't another white man in a cape but a teenage Muslim girl living in Jersey City. Kamala Khan, alias Ms. Marvel, can change shape and will fight villains and her parents' expectations when the series debuts in February. Pair with: Matt Madden's history of American comics in six panels.