A literary event with an extremely star-studded guest list will be held next month for a good cause. The World’s Most Literary Rent Party Ever will raise money for author Charles Bock’s wife, who is receiving treatment for leukemia, and will include Jonathan Franzen, Jonathan Safran Foer, Mary Gaitskill, Joshua Ferris, Rivka Galchen, Amy Hempel, Nicole Krauss, Rick Moody, Richard Price, George Saunders, and quite a few others.
Our good friends at The Morning News just rolled out a spiffy new look this morning! It’s in support of their “news for nerds” mission, which we also wholeheartedly support. Congrats, guys. Might we suggest you celebrate by reading its co-founder (and Year in Reading alum) Rosecrans Baldwin‘s very funny diary from a few years back?
“Writing difference is a challenge, particularly in fiction. How do men write women and vice versa? How do writers of one race or ethnicity write about people of another race or ethnicity? More important, how do writers tackle difference without reducing their characters to caricatures or stereotypes?” Roxane Gay reviews Joyce Carol Oates‘s The Sacrifice and simultaneously explains how to write difference well. Hint: it “demands empathy, an ability to respect the humanity of those you mean to represent.”
In the Winter 2013 issue of The Paris Review, Kevin Prufer published a poem, “How He Loved Them,” that tackled the aftermath of a car bomb explosion outside of a courthouse. On the magazine’s blog, Robyn Creswell interviews Prufer, who laments that “somehow, when we enter the territory of politics, we expect our poems to shill for votes, to argue strongly for particular beliefs.” (He also has a new book out.)
“‘What I want,’ a young Luis Buñuel announced to the audience at an early screening of his first film, Un Chien Andalou (1929), ‘is for you not to like the film … I’d be sorry if it pleased you.’ The film’s opening scene, which culminates in a close-up of a straight-edge razor being drawn through a woman’s eyeball, is often taken as the epitome of cinema’s potential to do violence to its audience…Horror movies frighten us; violent thrillers agitate us; sentimental stories make us cry. Suffering is often part of our enjoyment. Within limits, however: we are not to be so displeased that we are not pleased. Buñuel deliberately went beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke.”