“Children have a keen sense of injustice, and this was the thing that upset me the most: the pigs were so unjust.” Margaret Atwood recalls an early love of George Orwell.
“We always try to create the worst opinion of everything there is in the United States, as a response to what they have always done with us. The only difference is that we do not write falsehoods about the United States. I told you that we emphasize the worst things, that we omit things that could be viewed as positive, but we do not invent any lies.” This excerpted interview with Fidel Castro over at The Paris Review is enlightening for its candor and frankness.
Alright, time to fess up – who keeps buying all these Mein Kampfs? This piece from The Daily Beast takes a look at Hitler’s 800-page tome and questions why people continue to buy it despite the fact that “it might be dull as one of those many lunchtime monologues that bored Frau Goebbels cross-eyed.”
This week we have new on shelves: Julie Orringer’s hotly anticipated debut novel The Invisible Bridge; Meghan Daum’s memoir of real estate addiction Life Would Be Perfect If I Lived in That House, Private Life by Jane Smiley, and The Singer’s Gun by our own Emily St. John Mandel.
Jacob Silverman tackles the niceness epidemic besieging literary criticism at the moment. Where have the hatchet jobs gone? Is social media’s “communalism” robbing critics of their fangs? Each time a publication refuses to print a negative review, the act amounts to “a victory for a publicist, but not for readers,” he writes. (Just a few notes: Silverman’s piece is based on a blog post he wrote recently; Emma Straub has responded on her own blog; and, for what it’s worth, our own Michael Bourne’s recent review of Richard Ford’s Canada was pretty toothy.)