From Werner Herzog’s letter to Rosalina, the woman he employs to keep his house: “Music is futile and malicious. So please, if you require entertainment while organizing the recycling, refrain from the ‘pop radio’ I was affronted by recently. May I recommend the recitation of some sharp verse. Perhaps by Goethe. Or Schiller. Or Shel Silverstein at a push.”
What's the one thing that Rivka Galchen envies about men? Well, "the envious thought was simply that a man can have a baby that his romantic partner doesn’t know about. This is a crazy thought, of course, but I find myself feeling it with such sincerity that I cannot see its edges."
“To be a Patrick Leigh Fermor, a Colin Thubron, a Norman Douglas or Paul Theroux, requires always saying yes. To not-get-raped, according to every lesson I – and so many other women – have been taught, so often requires saying no.” On the paradox of being a women and a travel writer.
Writers have long been attracted to duels, if only because, for the most part, they offer an easy way to ramp up the conflict in a story. At Page-Turner, James Guida takes a look at their enduring relevance, with reference to the history of the duel in Europe. Pair with: our own Nick Moran on duels in Russian literature.
New this week: The Woman Upstairs by Claire Messud, A Guide to Being Born by Ramona Ausubel, NOS4A2 by Joe Hill, and three newly translated books from by Icelandic author Sjón: The Blue Fox, The Whispering Muse, and From the Mouth of the Whale. New in paperback is The Yellow Birds by Kevin Powers.