Scott Esposito interviews Natasha Wimmer, translator of 2666 and The Savage Detectives. They discuss some forthcoming additions to the ever expanding Bolaño oeuvre (which will be potential additions to a future edition of our Bolaño syllabus.)
“Quite possibly I’m a narrower, nastier and less morally responsible writer now than I was the day before my son was born. I certainly hope so.” We know Father’s Day was over a week ago, but here’s a belated link to a refreshingly cliché-free New York Times Bookends piece on parenting and writing, featuring James Parker and Mohsin Hamid.
“I’ve got to be writing. I have a few ways to make sure I can carve out time. Part one: Neglect everything else. Part two: Get disciplined.” David Mitchell writes about writing and the poetry of James Wright for The Atlantic. Pair with his story in tweets, “The Right Sort,” and Brian Ted Jones‘s Millions review of The Bone Clocks.
“Ghosts are just the fucked-up dead.” This interview with David Mitchell on the release of his spooky new novel Slade House is a perfect Halloween read. We interviewed Mitchell this same time last year in conjunction with the publication of The Bone Clocks.
Would you eat the marshmallow or would you resist temptation? That is the question. Our own Michael Bourne gets to the meat of why the mallow experiment fascinates us at The New York Times Magazine. “The tale of the marshmallows, as presented in Goleman’s book, read like some science-age Calvinist parable. Was I one of the elect, I wondered, a child blessed with the moral fortitude to resist temptation? Or was I doomed from age 4 to a life of impulse-driven gluttony?”
“’I put lipstick on a pig,’ he said. ‘I feel a deep sense of remorse that I contributed to presenting Trump in a way that brought him wider attention and made him more appealing than he is’ … If he were writing The Art of the Deal today, Schwartz said, it would be a very different book with a very different title. Asked what he would call it, he answered, ‘The Sociopath.'” Donald Trump’s ghostwriter from The Art of the Deal, Tony Schwartz, expresses some remorse and tells what it was like to write Trump.