This is a fantastic piece on W. H. Auden, “The Murder of Lidice”, and the importance of the ideological and political contexts of war. Joanna Bourke writes, “the flood of poems [after the Lidice massacre] actually served to draw attention away from the people of Lidice and towards the swollen sensibilities of the poets and their readers.”
Jonathan Franzen’s Kraus Project should be “a match made in heaven,” writes Jacob Mikanowski, because of how it pairs together “the old hater [Karl Kraus] and the new [Franzen], the Butch Cassidy and Sundance Kid of cultural criticism drawn together across the gulf of a century to take on all comers.” Alas, the end result is instead a “strange and rather discordant experience, like receiving a deep tissue massage while being spat on from a great height.” (Bonus: One of the best London Review of Books openers of all time.)
Can’t wait for Haruki Murakami’s new novel? You’re in luck: Slate just published an exclusive excerpt from the book. Sample quote: “No matter how quiet and conformist a person’s life seems, there’s always a time in the past when they reached an impasse. A time when they went a little crazy. I guess people need that sort of stage in their lives.” (You could also read Ben Dooley’s review of 1Q84.)
Thanks to the work of archivists at The Harry Ransom Center at the University of Texas, two scholars have unearthed a 1901 play by Edith Wharton called "The Shadow of a Doubt," reports The Guardian. “After all this time, nobody thought there were long, full scale, completed, original, professional works by Wharton still out there that we didn’t know about. But evidently there are. In 2017, Edith Wharton continues to surprise.” Pair with this reflection on the role of New York City in Wharton's novels.