Hari Kunzru wonders whether the recent surge of attention for Hungarian novelist László Krasznahorkai makes him the latest talisman for the young New York literary elite. Regardless, it’s worth revisiting Paul Morton’s interview with Krasznahorkai and Adam Z. Levy’s review of his latest novel, Sátántangó.
"I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes." Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
What happens when you put one of the biggest literary egos together with music's biggest ego? A movie. Bret Easton Ellis is working with Kanye West on a film. "He came and asked me to write the film," Ellis told Vice. "I didn't want to at first. Then I listened to Yeezus...I thought, regardless of whether I'm right for this project, I want to work with whoever made this." This is an interesting pairing because Kanye definitely isn't a reader.
As the publication date nears for Robert Caro's latest Lyndon Johnson installment, The Passage of Power, it's a good idea to brush up on your history of Caro's career. Enter Charles McGrath and his great portrait of one of the most prolific biographers of all time.
"Barbarian Days by William Finnegan. Made me realize my whole life has been pretty much a waste. I suspected this anyway; he explained why: because I’d not surfed." Geoff Dyer over at the New York Times on the best book he's read recently. Our own Janet Potter interviewed Dyer on the release of his most recent book, White Sands.