Over at Salon, Joel Whitney explains how The Paris Review worked with the CIA and “served, in part, as a covert international weapon of soft power.” While the possibility is certainly tantalizing, it’s necessary to read Whitney’s article alongside Carolyn Kellogg’s piece in the LA Times, which notes how “the threads of the article … become unsupportably tenuous” as it carries on.
What’s Next? The KGB Bar Run By the Real KGB?
Hitch Hearts Hilary
Hitchens elevates Hilary Mantel to “the very first rank of historical novelists” in a long consideration of Wolf Hall.
●
●
L’Affaire Martel
In the HuffPo, the proprietors of San Francisco’s Booksmith defend Yann Martel‘s Beatrice and Virgil…sort of. I feel like I’m having Kindly Ones déja vü.
●
●
Hey, Hub Fans
Perhaps the best piece of baseball writing ever put to paper (duly praised here), John Updike’s “Hub Fans Bid Kid Adieu” about Ted Williams is being released in a slim, stylish volume from Library of America this week.
●
●
After the Wall
“[Christa] Wolf was a committed dissident in the GDR (East Germany) and a forceful voice resisting Western triumphalism after reunification. It would seem like some sort of explanation was owed to the public. Yet how does one give an account of oneself when the link to the past, to the psychological and cultural backdrop of such fateful decisions, is not even subjectively available?” On City of Angels: Or, the Overcoat of Dr. Freud.
●
●
The Modern Office
Our own Lydia Kiesling writes for The New Yorker about workplace fiction by women. As she puts it, “If the author is a woman, workplace fiction is also domestic fiction, easily disguised as ‘chick lit,’ ‘girlfriend literature,’ or even ‘erotica.’ Regardless of the packaging, these books provide mapping, contextualizing, and rich illustration of women’s working lives.” For more of her writing, check out her essay on the San Francisco housing market for The Millions.
●
●
Writing on Mute
Even though James McBride (new National Book Award winner for The Good Lord Bird) is an accomplished jazz musician, he doesn’t listen to any music while writing. “Because I’m a musician, listening to music is…it’s a bit like work for me,” he told The Daily Beast for the “How I Write” series.
●
●