On Ike and the Liking Thereof
Take A Hike
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“The Specter of the Confessional”
“The specter of the confessional haunts all first-person writing, and women’s writing in particular,” but perhaps “the instinct to insert [the self] comes from a place of saying, ‘I’m not an expert, I’m just a person; let me show you where I’m situated here in this thing I’m telling you about.'” Our own Lydia Kiesling writes about Meghan Daum, Lena Dunham, Leslie Jamison and the confessional impulse in nonfiction for Salon.
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Tuesday New Release Day: Haddon, Walter, Lanchester, Tóibín, Ondaatje
New this week are Mark Haddon’s The Red House, Jess Walter’s Beautiful Ruins, John Lanchester’s Capital, and a collection of essays from Colm Tóibín, New Ways to Kill Your Mother: Writers and Their Families. Michael Ondaatje’s The Cat’s Table is now out in paperback.
This Charming Man
His music isn’t letting him get what he wants, so Morrissey is turning to writing instead. After his autobiography, Morrissey, was more successful than any of his records, the musician is writing a novel next.
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“Characters are Ciphers”
Peter Mendelsund writes for the Paris Review about how we see, or think we see, fictional characters. “Characters are ciphers. … We are ever reviewing and reconsidering our mental portraits of characters in novels: amending them, backtracking to check on them, updating them when new information arises.”
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On Dr. Seuss and Pluto, Etc.
It may not surprise you to learn that Neil deGrasse Tyson wishes he’d met Oscar Wilde. As part of the By the Book series in the Times, the astronomer talks about his favorite writers, including Carl Sagan, Bill Bryson and Jonathan Swift.
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A Quality of Immortality
“When watching [Abbas] Kiarostami films, one also has a great sense of another kind of freedom not found in Hollywood movies, nor in most European art films: freedom from the creeping realization that a film we are watching was made by a cynical shit or a self-deluded megalomaniac.” Here’s something you don’t see every day — an essay that begins with an Independence Day showing of The Purge: Election Year, and somehow ends up at a poetic examination of Kiarostami’s artistic legacy.
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