William Weaver, Italo Calvino’s longtime translator, writes about the pair’s “complex relationship,” their “consuming passion for words,” and the Cosmicomics author’s travels through “his invisible cities, cities of ideas, or perhaps ideas masquerading as cities.”
“Stories are born unconsciously, but I think the writer determines whether the turn a book has taken is true or false through feeling, which is conscious. I shape my stories in this or that way because the story answers something that is emotionally rather than literally true for me.” At Full-Stop, Siri Hustvedt talks fiction with Tyler Malone.
There was a lot going on this September. Luckily, the good folks over at The Literary Hub have provided us with this helpful list of five of the best new books September had to offer. A personal favorite includes Emily Donoghue’s The Wonder, in which the protagonist appears to be subsisting on nothing but water.
“Baldwin understood that if you are going to say something important about the world it is best if you try to say it beautifully. I don’t mean like picking flowers or writing on fancy stationery. I mean how you say it actually makes it a more meaningful piece of writing. I am going to push that further. It makes it a truer piece of writing. What you are saying is: ‘Can I make somebody feel this in a deeper way?’ That was what I was obsessed with.” Over at The Guardian, Ta-Nehisi Coates talks about the success of Between the World and Me and being inspired by his father. Pair with our own Sonya Chung’s essay on David Brooks and Ta-Nehisi Coates.
What’s the greatest tool to create suspense? An unreliable narrator, according to Gillian Flynn, who is a master of them if you’ve read Gone Girl. She discussed how to write a good thriller, why she doesn’t believe in guilty pleasure reading, and her ambitious quest to read every Pulitzer Prize-winning novel in chronological order in a New York Times “By the Book” interview. Pair with: Our conversation about Gone Girl.