Already on shelves ahead of its “official” release date is Mark Twain’s long embargoed Autobiography. Also new this week are The Petting Zoo, a posthumously published novel by punk poet Jim Carroll; a new collection of Selected Stories from master of the form William Trevor; Cynthia Ozick’s “retelling” of of Henry James’ The Ambassadors, Foreign Bodies; and, in time for election day today, Matt Taibbi’s collection of biting political journalism, Griftopia.
“Reading Literary Twitter is to witness brief, terse glimpses into the writerly psyche, and how insecure and unsure and thin-skinned we tend to be. As writers, we want to be validated. We want to matter. The published stories and poems and essays, the books we sell, the magazines we edit: all this output, this paper expelled out to the world, the screens we invade with our narratives, it all matters to us. But does it matter to everyone else?” mensah demary writes about the good, the bad, and the slightly neurotic of being a writer on Twitter for Electric Literature.
“Kill ‘Em and Leave is [James] McBride’s own testament to [James] Brown’s philosophy. It’s a stunningly unorthodox book, indifferent to the conventions of biographical nonfiction … The book is a hybrid of forms, largely a telling of Brown’s life story and partly a telling of McBride’s search for that story, with digressions about the author’s own life, essayistic ruminations on Brown and his music, and free, looping riffs that have the energy of improvisation.” On James McBride’s unusual, unorthodox biography of the unusual, unorthodox James Brown.
Anthony Domestico interviews C. E. Morgan about her second novel, The Sport of Kings, one of the most anticipated books of 2016. As she puts it, “Every aspect of the novel is–or should be—an arrow pointed towards its ultimate meaning, or a multiplicity of possible meanings.”
“Sitting there in my thrift-store jacket and boa with my legs spread, I was a study in cubism: lips mouthing well-bred earnest truisms about postcolonial theory, hand guiding their hand up under my skirt, it was, on a deep level, hilarious.” Chris Kraus writes about working New York’s topless hustle bars at n+1.