Over-confident people enter into our lives in many forms: military planners, Wall Street investors, that chick shouting *NSYNC into the mic at the back of the bar. Daniel Kahneman’s new book Thinking, Fast and Slow, deals with this phenomenon of human nature. Read an excerpt here.
“Limits stop you from living a life without limits,” writes Augusten Burroughs. “Of course, this is only an illusion. What limits really do is give you an acceptable excuse to avoid doing something.” (He’s talking about life, not Oulipo.) The piece is excerpted from his recent book, This Is How.
New this week: Everything I Never Told You by Celeste Ng; Mambo in Chinatown by Jean Kwok; The Appetites of Girls by Pamela Moses; Shrink Thyself by the Letterman staff writer Bill Scheft; The Last Taxi Ride by A.X. Ahmad; and the Cambridge University Press edition of F. Scott Fitzgerald’s Taps at Reveille.
“We note that there is a great lack of schoolbooks among secondary pupils, due to their weak purchasing power. The books currently in circulation will remain in use, but for purposes of ‘complementary consultation.’” Mozambique's Education Minister has announced that with the start of the 2017 academic year, its school system will adopt a single book for each subject taught in the country’s secondary schools. Also: get to know the internationally renowned Mozambican writer Mia Couto, whose books The Blind Fisherman and The Tuner of Silences were recently translated into English.
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."