Over at The Paris Review, Wei Tchou travels to Flannery O’Connor’s farm in Georgia. As she writes, “The charm of Andalusia lies in gestures like this, the ones that urge you into feeling as though you belong. The place isn’t a fossil, it’s a home.” Pair with Nick Rapatrazone’s Millions essay on teaching and learning from “the greatest American writer ever to load up a typewriter.”
Patti Smith’s M Train was released this Tuesday. Geoffrey O’Brien reviews her memoir at The New York Review of Books: “Perhaps M Train represents the attempt by someone whose career is as public as can be imagined to stake out a zone of inviolable privacy, albeit through the public act of writing a book meant for publication.” Need more music? Check out our Torch Ballads and Jukebox Music column.
This week in the New Yorker Jane Hu analyzes the “dispassionate first-person narrators” prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. “Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian.”