Get ready for the return of Breaking Bad by reading Michelle Kuo and Albert Wu in the LARB, and also by reading Max Rivlin-Nadler’s piece in The Nation. Or, if you want to take a walk down memory lane, check out Chuck Klosterman’s piece from last year in which he convincingly argued that Walter White’s odyssey makes for best drama on television. Lastly, here’s some good news for those among you who subscribe to DirectTV and are thus locked out of AMC: you can stream tonight’s episode on the company’s website.
Apocalyptic literature is nothing new, but it may, according to Grayson Clary, be entering a new era. In Bookforum, he argues that Benjamin Percy’s The Dead Lands ushers the genre into its mannerist phase. Sample quote: “The Dead Lands is really the stripped, buffed skeleton of a road story, set up to show off—attractively—an enormous quantity of decorating tropes.” You could also read our interview with Percy.
“We tether ourselves to others as a path not taken, a dream unfulfilled. A lesson unlearned, a responsibility unmet. We mourn idols as ourselves because even that unachieved road must end.” Paul Taunton has written a heartfelt Hazlitt essay on Frederick Exley, Frank Gifford, and passionate idolatry. Exley’s cult favorite A Fan’s Notes, published in 1988, is a fictional memoir that centers on a quasi-obsession with Gifford, who passed away earlier this week at the age of eighty-four.
“… Stop talking about diversity and start decolonizing our shelves.”At the Winter Institute 2018 (Wi13), keynote speaker Junot Diaz lambasted the publishing industry for talking — but doing little else — about diversity in literature, and implored librarians and booksellers to fill their shelves with diverse books. From our archives: an essay on race, gender, and Diaz’s writing.
“Our literary culture has distended and warped by focusing so much power in a singular place, by crowding the gatekeepers into a small ditch of commerce. A review in the Times trumps everything else. You can’t tell me that this doesn’t affect what is, finally, bound into books, marketed, and sold. Which designates what can be said and how one says it. Why do we cede American letters to a handful of corporations that exist on a single concrete patch?” This piece by Matthew Neill Null at The Literary Hub raises a lot of extremely important questions about what gets published and why.