A few weeks ago, Benjamin Hale wrote an article for us about the trivialities and happenstance associated with publishing prizes. His point was that legacy was more important than short-lived fame. In a way, his piece is nicely supplemented by Tom Bissell’s essay on the luck and chance necessary to attain literary success.
New York Review of Books Classics is having its annual Summer Sale, and some of the bundles this year are particularly enticing. For instance, you can grab perennial Millions favorite (and current international bestseller) Stoner as part of a bundle that also includes Renata Adler’s Speedboat. The publishers are also offering John Horne Burns’s lost masterpiece, The Gallery, as part of a collection of World War II novels. You may recall David Margolick’s great profile of Burns from the New York Times Magazine last month.
“I don’t know anymore where I begin and Obama ends.” Go and check out this fascinating profile of Ben Rhodes, the “Boy Wonder of the Obama Whitehouse,” who dropped out of his second year at NYU’s M.F.A. program after witnessing the attacks on September 11th to take up a life of international affairs and foreign policy. When asked about whom he would choose write the story of his work life, Rhodes picked novelist Don DeLillo: “He is the only person I can think of who has confronted these questions of, you know, the individual who finds himself negotiating both vast currents of history and a very specific kind of power dynamics. That’s his milieu. And that’s what it’s like to work in the U.S. foreign-policy apparatus in 2016.”
Full Stop editor Anna-Claire Stinebring argues that Roy Lichtenstein’s art has “come full circle” thanks, at least in part, to the popularity of Mad Men and 1960s nostalgia. Matt Weiner’s drama, after all, “explores but also glamorizes the world that produced the material for Lichtenstein’s most famous paintings.”