At Full-Stop this week, an interview with Joshua Cohen, whose new book, Four New Messages, spans “a wide geographic and narrative terrain.” Back in August, Johannes Lichtman gave his own take on the collection, as did Shannon Elderon at The Rumpus.
Nonfiction writing might work wonders for history books, but the heart of the genre is still the essay. In a piece for The Morning News Martin Connelly discusses his youthful resolution to be an essayist, which he quickly forgot and then gradually remembered. There are also ironic license plates, convicts and a baby, just to jazz everything up a little bit.
“She could be a diva, says this source, ‘but in a way I fucking admire it. The world would be a sorrier place without divas.’” For New York magazine, Boris Kachka on the drama behind Michiko Kakutani‘s departure from The New York Times and what her absence means for the world of books. Consider also: our own Matt Seidel‘s rogue’s gallery of prominent critics.
“Yes, they believed I was a dangerous person, unpredictable, and I observed that I really scared them. Sometimes I noted that the guards looked at me as judges. Their look translated to me as ‘gorilla, stay in your cage!’ When soldiers were off-duty, they came to gawk at me with a sense of wonder. Sometime they would throw me a piece of meat or something sweet, just like to an animal. The old EZ: an exciting and fascinating sight.” Ezra Pound reflects on his time in an Italian prison.
No matter what you think of the bookish offspring of the OED’s word of the year, you should know that Neil Gaiman gave the term “shelfie” some more press. While moving out of his house, the author took a “tragic shelfie,” aka a picture of his books packed away in boxes. (Related: our own Tess Malone reviewed Gaiman’s latest book.) (h/t The Paris Review)