It’s turning into Speedboat Week here, so why not spend the weekend with some of Renata Adler‘s most renowned nonfiction? Her controversial reassessment of Pauline Kael (featuring “A Limitless Capacity to Inquire,” one of the best found poems you’ll ever read) is at the NYRB, and her deep dive into l’affaire Lewinski can be found at the L.A. Times. Interestingly, as Sarah Weinman points out, Adler’s 2001 book about the Bilderberg Conferences still hasn’t seen the light of day. (“Who suppresses manuscripts? We do!”)
This week in the New Yorker Jane Hu analyzes the “dispassionate first-person narrators” prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. “Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian.”
If you didn’t like Elif Batuman‘s gut-punch to MFA writing (“Get A Real Degree”) in this issue of the London Review of Books, might I suggest Jenny Diski’s cudgeling of self-help lit in the LRB’s Diary essay?
If Fantasy Football is football for people who don’t like dirt or concussions, here’s a Fantasy Football for people who don’t like football. Book Riot has the details, which involve tracking your favorite authors’ career highlights much like an athlete’s: “publishes a book,” sure, but also “appears in another author’s book trailer,” “fatwa issued against author,” and “dies.” Our own Edan Lepucki makes the Rookies bracket, but, please–no fatwas just to win.