The Public Domain Review takes a look at the “Class of 2013,” a k a their “top pick of artists and writers whose works will, on 1st January 2013, be entering the public domain.” Among the names highlighted is Robert Musil, whose novel The Man Without Qualities was reviewed on our site by Matthew Gallaway.
The Class of 2013
In a Fugue State
“Could I write a novel about fugues in the form of a fugue?” Margot Singer wonders in The Paris Review, remembering the process of writing her first novel and considering other authors – Joyce, Nabokov, Woolf – who have tried to compose words musically. See also: our own Jacob Lambert on whether to write with background music on.
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Like Moss
“Like moss, my family grew on a mountain. In the utmost northwest of Spain, they set down roots so thick that only despair could rip them out.” Lorena Piñeiro writes at Midnight Breakfast about her family and penance. Pair with a piece on the business of nonfiction.
Colum McCann’s Optimism
Let the Great World Spin author (and one of today’s YiR2011 writers!) Colum McCann had some inspiring words for this year’s crop of Boston College freshmen. “There’s a degraded discourse around the notion of optimism these days that says there is something soft about being an optimist—something wrong,” he said. “It claims that optimism has no edge, as if it’s less than complete, less than the full deck of knowledge. The optimist is cartooned into the corner with an idiotic grin. I submit to you that none of that is true.”
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Jericho Brown and the South
Award-winning poet Jericho Brown discusses how the ongoing push and pull of the South continue to fuel his powerful work.
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Overshadowed But Not Overlooked
In addition to the shortlist for the IMPAC, the 2012 Guggenheim Fellows and the shortlist for the prestigious sci-fi accolades, The Hugo Awards (including the exotic subgenre Semiprozine), were announced yesterday.
World of Redundant Forms
Recommended Reading: Over at Electric Literature, Lori Huth writes about Jeanette Winterson and contemporary war metaphor: “I wanted to feel powerful emotions commensurate with the horror of the story behind the images. I wanted to feel bewildered, and to lament, but instead I felt numb.”
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