Alan Cheuse‘s review of Jonathan Franzen‘s much-anticipated new novel, Freedom, appeared on All Things Considered yesterday…and begs the question of what kind of compassion we look for in novels.
NPR Reviews the New Franzen
Bytegeist
This week Margaret Atwood tweeted a photo of her and Alice Munro drinking champagne in a “secret lair.” There’s no denying it — technology has changed the way we tell stories. Atwood and 16 other writers, from Victor LaValle to Lee Child, discussed how technology influences their work in The New York Times. “There’s nothing worse for plots than cellphones. Once your characters have one, there’s no reason for them to get lost or stranded,” Rainbow Rowell said.
Amis and Larkin: Frenemies
n+1 editor Keith Gessen wrote the introduction to Kingsley Amis’s rereleased novel Lucky Jim, and the folks at The New Statesman were nice enough to share it with all of us.
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“More allegorical than real”
Recommended Reading: Deborah Friedell on Ian McEwan’s The Children Act.
Counter-revolutionary
It goes without saying that a man dubbed “the father of modern conservatism” might stir up contentious debates. In his heyday, Edmund Burke was so renowned as a thinker that his detractors tried to place him at the center of conspiracy theories. In a new biography, Jesse Norman tackles Burke’s thought in its entirety — a task which, in Charles Hill’s view, is nothing if not un-Burkean.
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Marr Resigns
Politico reporter Kendra Marr was forced to resign her position this week after New York Times writer Susan Stellin alerted Marr’s editors to similarities between her transportation policy story published Sept. 26 and Marr’s story published Oct. 10. An investigation by Politico into Marr’s work found seven instances of likely plagiarism. Regret the Error points out that Politico should call Marr’s stories what they are: serious plagiarism.
Big Bird Is Still Employed
Still mourning the end of 2012 Election jokes? The Poetry Foundation is here to help with “Binders Full of Poems by Women.”
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I look forward to reading “Freedom,” but with some unease, because Cheuse (and other things I’ve read) make it sound as if Franzen is repeating himself — the new book appears to be very much in the same vein as The Corrections; i.e., another satire of middle-class life. He did it so well the first time, that the second go-round will almost certainly be a disappointment. It’s a safe choice of subject matter, and I hadn’t thought of Franzen as a safe writer up till now.
It’s a horrible review that though – doesn’t really say a great deal. Excited to read this, but agree a little with Tom – sounds like Franzen is in his safety zone here…