“Tom Stoppard isn’t shy about tackling literary giants. The British playwright has rewritten Hamlet for the stage and recently turned Tolstoy’s Anna Karenina into a Hollywood feature. But he struggled with a television adaptation of Ford Madox Ford’s sprawling modernist masterpiece Parade’s End.”
In an essay for TriQuarterly Lia Purpura writes about Virginia Woolf‘s “moments of being” and their importance for contemporary writing. “Woolf’s particular flavor of modernism is rooted in the drive to gather, hold, and deepen moments, to make the shimmering moment of perception the base upon which “reality” rests. Her sensibility honors the fleeting, fragile instances of a person’s life.”
New this week: The State We’re In by Ann Beattie; Who Do You Love by Jennifer Weiner; The Beautiful Bureaucrat by Helen Phillips; The Race for Paris by Meg Waite Clayton; In The Language of Miracles by Najia Hassib; Still Life Las Vegas by James Sie; and Subway Stations of the Cross by Ins Choi. For more on these and other new titles, check out our Great Second-Half 2015 Book Preview.
Chances are you’ve heard that in a recent interview, Claire Messud responded to a patronizing question about one of her characters — “I wouldn’t want to be friends with Nora, would you?” — by giving her interviewer a smackdown that resonated across the blogosphere. At Page-Turner, several authors (including Rivka Galchen, Jonathan Franzen and Year in Reading alumna Margaret Atwood) offer their own takes on the matter of “likeability.” (There’s also this piece by our own Emily St. John Mandel to consider.)
“And now An American Marriage, with its ruminations on masculinity, married life, and what constitutes marital debt, manages the trick of arriving at the right time while also feeling utterly untethered to just one era.” BuzzFeed News profiled writer Tayari Jones about her life, oeuvre, and fourth novel, An American Marriage. Pair with: Jones’s 2017 Year in Reading entry.