With the Internet endlessly reshaping, reforming, upending our lives, etc., it’s important to ask: what exactly constitutes a magazine these days?
In The Nation, Mark Oppenheimer reviews Janet Malcolm’s Forty-one False Starts, which includes the New Yorker staff writer’s early works of criticism. The problem, he writes, with her and most Western critics? “She is a snob, but wishes she weren’t.” (ICYMI: we published a review a few weeks ago.)
“Grief doesn’t only disturb life; it disturbs the way we talk about life. As myriad aspects of our existence are questioned and reexamined in the wake of a death, so too is our relationship with the language we rely on for our grief’s expression.” This track-by-track take on Sufjan Stevens’s Carrie & Lowell from The Rumpus is really just a magnificent, emotive piece on elegy.
Chances are you’ve heard that the most important thing a writer needs to make it in the modern lit world is luck. Undoubtedly, there’s a lot of truth to that, but what if there’s another factor that has a bigger impact on a writer’s success? Sean McElwee argues for the importance of something more prosaic.
The second issue of the new journal Music & Literature is a feast for Krasznahorkai enthusiasts and neophytes alike, with some 70 pages of previously untranslated fiction, interviews, and essays, along with critical context on the “Hungarian Master of the Apocalypse.” Alas, only George Szirtes‘ essay and an interview with translator Ottilie Mulzet are available digitally. But the complete analog package is highly recommended.