“‘What I want,’ a young Luis Buñuel announced to the audience at an early screening of his first film, Un Chien Andalou (1929), ‘is for you not to like the film … I’d be sorry if it pleased you.’ The film’s opening scene, which culminates in a close-up of a straight-edge razor being drawn through a woman’s eyeball, is often taken as the epitome of cinema’s potential to do violence to its audience…Horror movies frighten us; violent thrillers agitate us; sentimental stories make us cry. Suffering is often part of our enjoyment. Within limits, however: we are not to be so displeased that we are not pleased. Buñuel deliberately went beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke.”
“Learning to really listen to it and learning to kind of embrace it, rather than running away from it, was a very useful thing to do,” says Hari Kunzru of the sounds of New York City’s streets. The sirens, horns, and arguments are the inspiration for his new “multimedia book,” Twice Upon a Time: Listening to New York. (Bonus: Kunzru has participated in our Year in Reading series two times in the past.)
Out this week: What Is Not Yours Is Not Yours by Helen Oyeyemi; Gone with the Mind by Mark Leyner; Innocents and Others by Dana Spiotta; High Dive by Jonathan Lee; Crazy Blood by T. Jefferson Parker; We Love You, Charlie Freeman by Kaitlyn Greenridge; Spill Simmer Falter Wither by Sara Baume; and The Best Place on Earth by Ayelet Tsabari. For more on these and other new titles, go read our Great 2016 Book Preview.
Andrew Ervin interviewed Matt Bell for Tin House. Bell’s forthcoming novel In the House Upon the Dirt Between the Lake and Woods will come out this summer. (Excerpt) It’s a book that was at least partially enhanced by Bell’s sense of “competition … of a useful kind” with his friend Robert Kloss. “I was so blown away [by Alligators of Abraham],” Bell admits, “that I can remember having to resist putting down his first novel to go make mine better.”