The Illest Brother

This week in the New Yorker Jane Hu analyzes the "dispassionate first-person narrators" prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works.  "Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian."

Voting in the 3 Quarks Daily 2010 Arts & Literature Prize is about to come to an end, so this is your last chance to click over and vote for your favorite Millions essay to win the prize. Pick your favorite and place your vote.

Over at the New York Times, Jennifer Schuessler previews a forthcoming collection of Robert Frost’s correspondence. It’s a collection, she says, that will go a long way toward rounding out the flat “monster myth” that’s subsumed the poet’s afterlife.

"It’s corrosive going down, you wonder if he had to add quite so much vinegar and horseradish, but afterward the effect is invigorating." Aaron Thier at The Nation reviews Rafael Chirbes' newest novel, On The Edge. The book admittedly gives no pleasure, yet is nonetheless worth reading as it operates like more of a "psychological health tonic," instead.