We’ve published a fair number of articles on the issue of finance and employment in a writer’s life. In general, writers assume that the ideal source of income, at least as far as it concerns their own careers, is one that leaves them free of worries and blessed with ample time. In the latest Bookends, Mohsin Hamid and Rivka Galchen tackle a more existential question -- do money woes inspire writers to greater heights of creativity?
Out this week: Our Little Racket by Anjelica Baker; Flesh and Bone and Water by Luiza Sauma; Night Thoughts by Wallace Shawn; The Supremes Sing the Happy Heartache Blues by Edward Kelsey Moore; and New Collected Poems by Marianne Moore. For more on these and other new titles, go read our most recent book preview.
"‘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."
After last week's NYT "Room for Debate" feature, ostensibly in answer to the question of why so many adults read YA fiction, Roger Sutton at the Horn Book took umbrage at the panelists' only partial engagement with the question. In the end though, he makes his own position clear: "I don’t worry about adults reading YA novels. Read what you want."