Carlos Fuentes, public intellectual and pivotal literary figure in not only Latin American but all of literature, passed away yesterday at the age of 83. Publisher’s Weekly recently interviewed the author about his forthcoming novel, Vlad.
Carlos Fuentes Passes Away
Labyrinths
Recommended recommendations: “Five books that are also labyrinths,” including Italo Calvino‘s The Castle of Crossed Destinies and Lily Hoang‘s Changing.
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CIA-Funded Artists
During the Cold War, the CIA became entrenched in cultural life through an organization named, ironically enough, the Congress for Cultural Freedom. In order to fight communism, they funded socialist artists. The Awl has compiled a list of literary journals, including the Kenyon Review and The Paris Review, that were once supported by the CIA.
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On the Reading That Drags On and On
Everyone’s been there: the bookstore event at which the reader drones on and on. The Observer shares some reading horror stories (and a few successes). Sarah McNally of NYC’s McNally Jackson bookstore says, “The traditional reading format is broken.”
Into the Abyss
“The day is spent for the most part in a glorious solitude. Like the hunter who moves silently through the woods to check his traps, she moves through the library, cautiously avoiding those whom she knows. A single conversation would ruin the beauty and vastness of her silence. Today no such conversation occurs and she is happy.” Good luck not reading this narration of a graduate student’s life in the voice of director Werner Herzog, now. Here’s a great Herzog Millions piece, as well.
The Future of the Book (& the Future of the ‘Do)
Could e-books be one 2012 presidential candidate’s secret weapon? Perhaps. So, too, could a very talented hair stylist.
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Two-fer from Kiš
Serbian writer Danilo Kiš, recently profiled by Sam Sacks, has two short pieces up on the Bomb! website.
Hart Crane: Remix Artist
“Samuel Greenberg belongs in the pantheon of literary manqués,” writes Jacob Silverman. The poet was a favorite of Hart Crane, who described him as “a Rimbaud in embryo.” But did Crane take his adoration too far? Did he in fact “remix,” re-purpose, or plagiarize some of Greenberg’s work?
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