Lisa Peet at Open Letters Monthly / Likefire blog on Millions contributor Sonya Chung‘s novel Long for This World: “When a novel, particularly a debut novel, is referred to as ‘ambitious,’ there’s usually an implicit ‘but’ present… Chung takes on the dynamics of family—what draws it together and what pulls it apart—through the eyes of a number of players, male and female, old and young, Korean and Korean-American. Both her subject matter and her approach are ambitious, to say the least. The only ‘but’ in my reaction, however, is but she pulls it off—and admirably.” Read the full review.
JW McCormack has some Notes Toward [A Potential] Film Adaptation of Roberto Bolaño’s 2666 up at The American Reader. As somebody who can’t even fathom making Cormac McCarthy’s decidedly less brutal (although still unimaginably brutal in its own way) Blood Meridian into a film, let me tell you: the idea of turning 2666 into a theater-ready motion picture seems impossible. (P.S. You really should just read both of those books…)
Hey look, several pieces of ours are in the running to win 3 Quarks Daily Arts and Literature Prizes! On their voting page, you can cast your ballot for James McWilliams’s piece on Faulkner, our own Hannah Gersen’s appreciation of Friday Night Lights, or our own Nick Ripatrazone’s essay on teaching English, among other nominees.
New this week: Everything I Never Told You by Celeste Ng; Mambo in Chinatown by Jean Kwok; The Appetites of Girls by Pamela Moses; Shrink Thyself by the Letterman staff writer Bill Scheft; The Last Taxi Ride by A.X. Ahmad; and the Cambridge University Press edition of F. Scott Fitzgerald’s Taps at Reveille.
Recommended RSS-ing: A better word of the day from artist Tory Hoke, who pairs each unusual word with a hand-drawn comic. Friday’s entry, “spurcitious,” is charmingly defined in relation to a thumb and a hammer. Hate pictures? Other tried-and-true options include curators at Merriam-Webster, The New York Times, and this guy on Twitter.
A couple weeks ago, we published our review of Ben Lerner’s 10:04, the follow-up to his debut Leaving the Atocha Station. At the Poetry Foundation’s blog, Adam Plunkett argues that 10:04 inadvertently reveals its author’s poetic training. The book, he says, “dissolves into a poem.”
“When gender’s not there, it sort of leaves room for us to focus on these other differences—and most of them end up being insignificant, too.” An interview with Emma Ramadan, translator of Anne Garréta’s Sphinx, on writing, translating, and understanding genderless characters.