Anatoly Liberman unwinds the etymology of “fart,” a word that, despite seeming modern, was used in the original legend of Thor and has been with us since the birth of the Indo-European ur-language.
Back in April, our own Sonya Chung linked to an excerpt on Bloom of Viet Thanh Nguyen’s The Sympathizer, then featured on the cover of the Sunday Times Book Review. At Bookforum, Lisa Locascio reads the book, drawing comparisons to Chang-rae Lee’s Native Speaker and Hari Kunzru’s The Impressionist.
“It turned out that the most successful Christmas records tended to have two common qualities: catchy, upbeat melodies and imagined unlikely scenarios for anthropomorphized yuletide characters.” Move over, Frosty! It’s beginning to look a lot like … an unseasonably warm December. Here is a brief history of Christmas songs and of their often-surprising rise from corny kitsch to global sensation.
I’ve written before about the First Sentence series at Granta. The magazine asks a prominent writer to explain how they came to write an opening line. Recently, they asked Bear Down, Bear North author Melinda Moustakis to talk about the beginning of her story “River So Close”: “She’s a good-for-nothing chummer.” You could also read Jonathan Russell Clark on the art of the opening sentence.
“The first sentence, itself described as a ‘decoy for attention’ in a 1930 story on the new art, is a lure within a lure, created in a new economy increasingly predicated on commercial diversification and instant appeal, in a book market that had never been so populated.” Electric Lit takes us through the history of the novel’s first sentence. Pair with our essay on the art of the opening sentence.