“After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of ‘realism.’ It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop (‘this isn’t a story,’ ‘this is poetry,’ ‘what is this’), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life.” Susan Steinberg asks what happened to American experimental writing.
Make It New
Sustainable Olympics
Year in Reading alumna Nell Zink writes on the future of global sport. As she puts it, “Under my plan for reform, the Olympics will no longer be assigned a fixed geographic location.”
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Always Watching
Neurotic writers or friends-of-writers are likely to have asked themselves an uncomfortable question: do the writers I know use my foibles for material? At The New Statesman, Oliver Farry lists a number of proofs that they do, citing Dante’s Inferno, Madame Bovary and Beckett’s debut novel Murphy.
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Carrying on García Márquez’s Torch
After the passing of Gabriel García Márquez, the team of Reed Johnson, Juan Forero, and Sara Munoz had cause to opine within the pages of the Wall Street Journal, who are the other “post-boom Spanish-language fiction writers whose works continue to redraw the map of Latin literature?” They list six suggestions, but I think one of the names on that list would’ve disagreed with the comparison. (Bonus: An unpublished Márquez manuscript may be on the way as well.)
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New Thomas Pynchon Teaser
Hot off the press: the first page of Thomas Pynchon’s forthcoming novel Bleeding Edge, which is due to hit shelves on September 17.
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Being Ernest
Is your family concerned about you? Are all your Victorian relatives vaguely scandalized by your presence? Then you just might be in a character in an Oscar Wilde play. At The Toast, a list of ways to tell.
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