Gary Indiana posits that “no current literary label appealingly describes the kind of narratives [Renata Adler’s] Speedboat and Pitch Dark are.” This might be true. However in the name of moving forward with discussion, perhaps we can all go with Matthew Spektor’s summation of Adler’s debut novel: “if it’s ‘like’ anything at all, a steeplechase of [dazzling] hurdles could be it.”
Renata Adler’s Dazzling Hurdles
Fractal Surfaces
Recommended Reading: On Marianne Moore’s infectious devotion to all things small, and how that same devotion helped make her Observations one of the great verbal works of art of the 20th century.
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Ruin-Reading
Junot Díaz is at home discussing his native Hispaniola as he muses on the function of apocalypse – New Orleans, Haiti, and Japan – in our global media landscape.
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Some Choice DFW Links
GQ offers an insightful interview with The New Yorker‘s Deborah Treisman on the subject of editing David Foster Wallace…while elsewhere, the German translation of Infinite Jest – Un Endlicher Spass – becomes an unlikely hit. (via)
“We love sentences and the people who create them.”
Christopher Newgent set up Vouched as a way to reinvigorate the book selling dynamic. By setting up guerrilla book stores and launching his Vouched Presents series, he’s had some success. You can keep tabs on their Twitter account to see when they’ll stop by your area.
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What to Dispense With
Say you’re the kind of person who never ends a sentence with a preposition. You’re studious about distinguishing between “its” and “it’s,” and you’re likely to judge a person who says “nauseous” when they should have said “nauseated.” But occasionally, if you’re being honest with yourself, you suspect that a lot of the grammar rules you follow are conditional or even arbitrary. Herewith, Steven Pinker offers ten rules you should break from time to time. (Related: Fiona Maazel wrote an essay for The Millions on good grammar.)
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Remarks on Color
Recommended Reading: On Walter Benjamin and Ludwig Wittgenstein. “They have many things in common, but where they connect most strikingly is in their shared suspicion of theory and their emphasis on the visual.”
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