There are plenty of new books to this week to fill that post-election void: Both Flesh and Not: Essays, a posthumously published collection from David Foster Wallace; Barbara Kingsolver’s Flight Behavior; Prosperous Friends by Christine Schutt; Magnificence by Lydia Millet; and These Things Happen, a debut by longtime TV writer Richard Kramer. From the indies, we have The Care and Feeding of Exotic Pets by Diana Wagman and Keyhole Factory by William Gillespie. Also out are Philip Pullman’s new version of Fairy Tales from the Brothers Grimm; Hallucinations by Oliver Sacks; and a big new Michael Jackson biography by a former Rolling Stone editor.
E. B. White is one of those writers you are liable to meet again and again in the course of a reading life, each time wearing a different expression. To children, he is the author of Charlotte's Web; to college students, he is half of Strunk and White's The Elements of Style. Later on, he helped define the voice of the early New Yorker. Now all those Whites have been brought together in the pages of In the Words of E. B. White: Quotations from America's Most Companionable of Writers, an anthology of quotations edited by his granddaughter Martha White.
Ratik Asokan reviews Revulsion: Thomas Bernhard in San Salvador by Horacio Castellanos Moya, a story about dealing with the violence that permeates El Salvador’s culture. “Fiction, unlike journalism, has allowed Moya to express the frustration and existential terror of living in a society thoroughly permeated by violence.” Pair with our reviews of Moya’s Tyrant Memory and The Dream of My Return.
What does Jonathan Franzen think of the cover for Freedom? What about Charlotte Strick, the book's designer? Or the photographers that took photos of those trees, of that blue warbler? Talking Covers has collected their thoughts, and plays host to other cover-related conversations besides. Check out this one The Flame Alphabet.
“Throughout the Crash, I wrote free-hand, not caring about the style or if something I wrote in the afternoon contradicted something I’d established in the story that morning. The priority was simply to get the ideas surfacing and growing. Awful sentences, hideous dialogue, scenes that went nowhere – I let them remain and ploughed on.” Newly minted Nobel laureate Kazuo Ishiguro on writing The Remains of the Day in four weeks.