Ben Lerner has a story [subscription required] in this week’s New Yorker that, like his debut novel Leaving the Atocha Station, features a protagonist named The Author. The magazine interviewed Lerner about the invitation to blur his fiction with his autobiography. He says that his work in an exercise in “activating those questions in peculiar ways—but the questions, not the answers, are what strike me as interesting.”
“I don’t believe the reader needs to know anything about me.”
Intersections and Turns
Recommended Reading: Noy Holland on writing fiction, a form rooted in deft timing, accidents, and revelations.
I Doubt The Authors Would’ve Been Thrilled With This
Deep South Magazine‘s Hunter Murphy compiled a list of “The Greatest Bromances in Southern Literature.”
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A Profile of the Profilist
Whether you’re a fan of the Boss or not, David Remnick’s recent 17-page look at the life of Bruce Springsteen is a delight to read and a masterful example of the profile piece. Remnik joins Storyboard to talk about the art of the profile.
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Where Every Novel Takes Place
Electric Literature has posted a “Map of the City Where Every Novel Takes Place,” so now you can know exactly how to get from Middlemarch to The Jungle Book via Jurassic Park.
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Jason Epstein on How Publishing Works
“Far more than any other medium, books contain civilizations, the ongoing conversation between present and past. Without this conversation we are lost. But books are also a business….” Jason Epstein explains how publishing works—and why, increasingly, it doesn’t, at the New York Review of Books. (via)
Pinochet’s Library
According to The Secret Literary Life of Augusto Pinochet author Cristóbal Peña, the Chilean dictator “was tormented by an intense inferiority complex, which he tried to deal with by collecting books.” A recent article in The New York Times provides a look at that book collection, which totaled around 50,000 books and has been valued at around $3 million.
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Note: protagonist of Ben Lerner’s novel is “Adam Gordon,” not “The Author.”