New York City’s municipal grid turns 200 this year. To commemorate, author and Year in Reading alumna Belinda McKeon notes the way New Yorkers utilize it as they “don’t wander so much as dart” from place to place.
“Over the years, Gross has done some 13,000 interviews, and the sheer range of people she has spoken to, coupled with her intelligence and empathy, has given her the status of national interviewer. Think of it as a symbolic role, like the poet laureate — someone whose job it is to ask the questions, with a degree of art and honor.” Terry Gross sits down with The New York Times Magazine in honor of her 40th anniversary hosting Fresh Air.
Leigh Stein‘s writing has appeared in places such as DIAGRAM, H_NGM_N, and Dzanc’s Best of the Web 2010. She also has a weekly column for The Faster Times. Her debut novel, The Fallback Plan, will be released next January by Melville House. Publisher’s Weekly thinks pretty highly of it.
Admit it, at one point or another you had a certain idea of what a writer’s life looks like. What comes to mind when someone says “I’m a writer?” You may picture a struggling hipster artist who lives in a smal apartment with books everywhere and does nothing but read and write. Rosalie Knecht explores the fascinating idea that we associate certain specific images with the writer lifestyle based off an Anthropologie catalogue. Not convinced? Read it for yourself.
“In a just world, every single person who was in favor of invading Iraq would have to read this book. It would be tattooed on the eyes of the invasion’s architects, force them to see everything through these writers’ words.” NPR reviews Iraq + 100: Stories from Another Iraq, a collection in which 10 Iraqi authors imagine their country 100 years into the future. See also our own review of literature about the war.
Gary Indiana posits that “no current literary label appealingly describes the kind of narratives [Renata Adler’s] Speedboat and Pitch Dark are.” This might be true. However in the name of moving forward with discussion, perhaps we can all go with Matthew Spektor’s summation of Adler’s debut novel: “if it’s ‘like’ anything at all, a steeplechase of [dazzling] hurdles could be it.”
“That has always been the unsettling irony of the carefree aesthetic. Rhetorically, it denies the full unpredictability of black experiences in America. It is a stereotype, albeit one intended for benevolence and created, perhaps lovingly, by black people.” Doreen St. Félix writes about the roots and ramifications of the “Carefree Black Boy” phenomenon.
Recommended Reading: Thomas Dylan Eaton on the Austrian writer Peter Handke.