Don’t Cry author Mary Gaitskill reviews Gillian Flynn’s wildly successful thriller, Gone Girl, for the pages of Bookforum. What she finds is that the book isn’t really frightening because of its plot per se, but rather because its two main characters “do not resemble actual people so much as grotesquely smiling masks driven by forces of extreme artifice, and it’s exactly that extreme artificial quality that’s frightening to the point of sickening.” For what it’s worth, Edan Lepucki, Michael Bourne, Ed Park, Janet Potter, and Jennifer duBois each named Flynn’s book in their most recent Year in Reading pieces.
Cole Stryker‘s Epic Win for Anonymous hasn’t garnered him a lot of positive feedback from members of the infamous image board 4chan. It did, however, result in lots of pizzas being delivered to Housing Works’ Bookstore on the night of its launch party. The author later did an “Ask Me Anything” session with Reddit and explained the pizza delivery among other things. What do you think will happen now that two authors have announced a forthcoming book on Anonymous itself?
There’s a certain narrative voice with an unspoken aim to exonerate the speaker from wrongdoing. It occurs in novels, though it’s most common in monologues, especially those which take up the entirety of a play. At Bookforum, Lurid and Cute author Adam Thirlwell lists a number of examples, including Hunger by Knut Hamsun and Wars I Have Seen by Gertrude Stein.
“A very proper letter (‘scrutinized and corrected by the magazine’s fact checkers and proofreaders,’ wrote the Times) was sent to [Robert] Gottlieb, beseeching him to decline the [New Yorker] job,” writes Elon Green in his overview of Gottlieb’s brief stint as the magazine’s editor. How would you feel if Donald Barthelme, Deborah Eisenberg, Ian Frazier, Jamaica Kincaid, Janet Malcolm, J.D. Salinger, and 148 others all told you, “don’t come” to your new job?
Poets, dog-lovers, urban-dwellers, and really, everyone — check out poet and dog-trainer Susie DeFord‘s heartfelt and keen-eyed new book of poems, Dogs of Brooklyn. Says Vijay Seshadri, DeFord’s collection is full of “wonderful poetic investigations into the life of Brooklyn’s dogs, into their habits, their idiosyncrasies, and their secret longings.”
Simon DeDeo writes for AGNI about the first line of Paradise Lost, John Milton’s first disobedience. As he explains it, “The line is a syllable too much. In Milton’s blank verse epic—iambic pentameter, five sets of two-syllable feet—the opening has eleven syllables, not ten.”