n+1 editor Keith Gessen discusses how the magazine’s editors “are slowing down.” “We’re not mad at anyone anymore,” he says. “We think everything is great.”
“Idea #2: Book opens to reveal it is hollow, contains one medium-sized onion. Review: ‘Multilayered… had me in tears.'” How to write a first novel that gets praised in the New York Times.
PEN America has announced the longlist for its 2017 Translation Prize, including Deborah Smith for Han Kang’s The Vegetarian (see our review here), Carlos Rojas for Yan Lianke’s The Explosion Chronicles, and Victoria Cribb for Sjón‘s Moonstone: The Boy Who Never Was. (We profiled Sjón’s work at length a few years back!) The winner will be announced in February of 2017.
“Up until very recently, I’d recount my online experiences with some degree of shame or sheepishness, but in this apocalyptic year of 2012, that embarrassment is beginning to fall by the wayside. I’ve been having more and more conversations with people grappling with what is gained and lost by how some of our most meaningful musical discoveries– not to mention life experiences– have happened in front of, or facilitated by, screens.” Over at Pitchfork, a new column dedicated to the intersections between digital and ordinary life – and the art these interactions can produce.