Tom Murphy, arguably Ireland’s greatest living playwright, joins The Paris Review for an interview about his life, his influences, and his rage.
“I wanted to write about the feeling of life. Not life as an intellectual process, or a concept, but as a feeling.”
The New RIP
Is death “in” as a topic? It may seem like a ridiculous idea, but Lorraine Berry has evidence to back it up. She argues, using Benjamin Johncock’s The Last Pilot, among others, as proof, that mourning and grief are enjoying a bit of a renaissance.
Taking Her Measure
“What traits make Austen special, and can they be measured with data? Can literary genius be graphed?” The New York Times tackles the question of why, 200 years after her death, Jane Austen is still so popular. (One finding: the author“used intensifying words — like very, much, so — at a higher rate than other writers.”) See also: our interview with Curtis Sittenfeld, whose most-recent novel Eligible is the ultimate literary tribute, an adaptation of Austen’s Pride and Prejudice.
●
●
An Interview With Marilynne Robinson
Read here, in the University of Washington’s alumni magazine, about how Marilynne Robinson approaches a book’s essence as “an elaborate needlepoint of decisions and observations”; how novels visit upon her as surprises; and how her recent move to New York might spawn yet another gift to readers.
3 comments:
Add Your Comment: Cancel reply
This site uses Akismet to reduce spam. Learn how your comment data is processed.
A Guide to a Guide
A few days ago, our own Edan Lepucki talked shop with Millions contributor Ramona Ausubel, whose new collection, A Guide to Being Born, came out last month. Now, at Full-Stop, Emily Oppenheimer reviews the book, which she says refuses to “make use of the obvious perspective.”
●
●
Serial
“What the novel needs again is tension. And the best source for that tension is serialization.” An argument for bringing back the serialized novel in the spirit of Dickens, Thackeray and Arthur Conan Doyle from The Washington Post.
Writing Isn’t For Everyone
“I hate to break it to you but everyone does not, in fact, have a book in them.” For The Outline, literary agent Kate McKean writes about the difference between good stories and good books—and what it takes to write the latter. Pair with: an essay on the books that fight back
I’m just gonna go ahead and assume you just don’t consider Martin McDonagh Irish.
Kati, your comment perfectly explains the need for the prescient “arguably” in Matt’s sentence — this coming from a man who laughed so heartily at The Lieutenant of Inishmore that I thought I’d be removed from the theatre.
I would debate the legitimacy of “arguably” in any case other than how you define McDonagh’s nationality. What a pugilistic adverb.