In a fabulously strange, illuminating, and spooky essay, China Miéville establishes the literary definition of “hauntology.”
Miéville on “Hauntology”
“The First Step Into the Wide World”
This is from two years ago, but it’s worth a listen if you missed it the first time: a moving Radiolab podcast on Alzheimer’s, Düsseldorf, and the creative use of bus stops.
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Appearing Elsewhere
My essay on Zadie Foster Franzenides and the current state of literary aesthetics is in this weekend’s New York Times Magazine.
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On The Rise of the Book Trailer
“These are terrific diversions, but their status next to the book is a little ambiguous. Isn’t using animation to advertise a book a little like using sculpture to promote poetry?” asks Lindesay Irvine in this article about book trailers in The Guardian. If you’re looking for a diversion, this video short based on César Aira‘s Ghosts is certainly worth watching.
Entering Lovecraft Country
“Lovecraft Country doesn’t just race along, it tears, demanding that you keep turning its pages without interruption. I read the second half of the book while walking in my neighborhood, holding the book with one hand and clutching bags of groceries in the other, and then finishing up in bed with a small LED lamp after my wife had fallen asleep. It’s one of those books.” Cory Doctorow reviews Matt Ruff’s Lovecraft Country at BoingBoing.
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The New Yorker on Flanagan
Recommended reading: The New Yorker‘s Amelia Lester reviews Richard Flanagan‘s “love story set amid horrific historic events,” The Narrow Road to the Deep North, which just won the 2014 Man Booker Prize.
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“Writing isn’t entirely mental.”
“Writing isn’t entirely mental. You’re a physical being, and sometimes when your writing is broken, it’s your body that needs attention, not your mind.” Rebecca Makkai has some tips for breaking writer’s block and a very cool perspective on writing as a whole person. Pair with our interview with Makkai about her latest novel, The Hundred-Year House.