Spotted on the streets of New York: a casting call for a “10-13 year old Caucasian male” to play protagonist Oskar Schell in Stephen Daldry‘s upcoming film adaptation of Jonathan Safran Foer‘s Extremely Loud & Incredibly Close. Notable Goyim Tom Hanks and Sandra Bullock are attached to the project, as Oskar’s parents.
Calling All Foer-Besotted 10-Year-Olds
Voices in Asian-Anglophone Fiction
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.”
A literary magazine best served cold.
Break out your book of grudges because River Styx literary magazine has decided on the theme for their next issue: Revenge.
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Cerebral Los Angelenos
Who says L.A. can’t be bookish? (Ok, I say that a lot.) But here to prove me (and you) wrong is next week’s calendar events for cerebral Los Angelenos. On the “books?”: Amiri Baraka, Joan Didion, and Jonathan Lethem, just to name a few.
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Writing from the Self
Year in Reading alumnus Alexander Chee has a guide for writing an autobiographical novel. He writes, “The woods is your life. You are the axe.” Pair with this Millions piece in defense of autobiography.
History and Story
In a piece for Public Books Rebecca Steinitz reviews some recent historical novels, including The Luminaries and The Invention of Wings, and argues that the best historical fiction “plunges the reader wholly into the past, enlightening and entertaining us, while also making us reflect on our present, in history and in literature.” Pair her piece with Laila Lalami‘s account of “How History Becomes Story.”
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“Sing About Me”
“Good kid m.A.A.d city is a memento mori haunted by dead and living ghosts…When they are pieced together as a sequence they act like Muybridge’s zoopraxiscope: they give us the impression that from these clips we are watching a black boy learn to fly above it all.” Rachel Kaadzi Ghansah looks at hip-hop, Kendrick Lamar, and the tradition of the black blues narrative.
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