The NYRB Blog offers a selection from Animalinside, the very cool collaboration between illustrator Max Neumann and the great Hungarian novelist László Krasznahorkai. Colm Toibin provides an introduction.
Anne Carson has a new story in this week’s issue of The New Yorker, about swimming and its discontents. As she puts it, “People think swimming is carefree and effortless. A bath! In fact, it is full of anxieties.” Pair with her first published short story in the January issue of Harper’s.
“I learned through imitation, but it was only when I followed—or found—my own voice that I was able to derive a different kind of inspiration from reading fiction, something subtler and more expansive. Today, when I reach a wall in my own work, I turn to authors I love to remind myself what is possible: that sentence, that structure, that daring twist of plot.” Chloe Benjamin, who just yesterday published a piece on choosing book titles for The Millions, writes about the dangers and rewards of reading while writing for Poets and Writers’ Recommends series.
James Baldwin was more famous for being an essayist and novelist, but he was also a film critic. At The Atlantic, Noah Berlatsky argues that Baldwin should be considered one of the best film critics for The Devil Finds Work. “Baldwin shows that criticism is art, which means that it doesn’t need a purpose or a rationale other than truth, or beauty, or keeping faith, or doing whatever it is we think art is trying to do.” For more on Baldwin, read our essay on his epiphanies.
In her controversial book The Fall of Language in the Age of English, Minae Mizumura argues that English, thanks largely to its global predominance, threatens to lessen the diversity of expression in the world. At Bookslut, she tells interviewer Corinna Pichl about her book, her issues with lingua francas and things you can say in Japanese that you can’t say in English.