Jonathan Freedland and Christian Lorentzen wrote dispatches from the Republican National Convention for the NYRB and LRB, respectively, but the UK outfit seems to be more committed to the endeavor than does Robert Silver’s. Check out Lorentzen’s two additional updates here and here.
Laura Hillenbrand, author of Seabiscuit and Unbroken, discusses her life with Chronic Fatigue Syndrome. “I’m looking for a way out of here. I can’t have it physically, so I’m going to have it intellectually. It was a beautiful thing to ride Seabiscuit in my imagination.”
“The internet teems with writerly advice, almost all of which suggests that creativity is served best by monasticism, a quiet life filled with pencils—but that kind of advice seems to take a very short view of history, overlooking the one classic way to rouse the capricious Muses: sexually transmitted disease.” According to The Hairpin, maybe it’s not an MFA you need, just syphilis. After all, it seems to have worked for James Joyce, Baudelaire, Flaubert, Oscar Wilde and many, many others.
New this week: A Hundred Thousand Words by Bob Proehl; Missing, Presumed by Susie Steiner; The Sun in Your Eyes by Deborah Shapiro; The Bones of Grace by Tahmima Anam; The Swan Book by Alexis Wright; The Life of the World to Come by Dan Cluchey; and Mortal Trash by Kim Addonizio. For more on these and other new titles, go read our Great 2016 Book Preview.
“What do these two books have in common?…Open each cover and you will only find similarities: They are the same book.” For The Globe and Mail, our own Claire Cameron writes about one book being marketed with two different covers and titles to appeal to different audiences. Pair with: an essay about book covers featuring headless, backless women, and another on the beauty of typewritten book covers.
Asymptote, a new international journal of literary translation, is up for free online and comes packed with ear candy. Though all the content is translated into English, an audio recording of the authors reading their work in the original language accompanies many of the pieces.