“Russia’s most celebrated writers – including Dostoevsky, Tolstoy, Nabokov, Bulgakov, Solzhenitsyn and Mandelstam – are often depicted as solitary geniuses. But many of their works were the fruits of creative partnerships with their wives. Far from being passive typists, they served as editors, researchers, translators, publishers and more.”
A couple of weeks ago, I pointed readers to the trailer for Olive Kitteridge, the new HBO show based on the Pulitzer-winning novel by Year in Reading alum Elizabeth Strout. In this week’s New Yorker, Emily Nussbaum sizes up the new series, describing it as a case study in bringing a work of fiction to the screen. “In the course of four hours, the miniseries casts a West Coast spell on scenes of Yankee repression,” she writes.
Recommended Reading: From The New Yorker, it’s Tessa Hadley on fiction as anthropology: “When I’m writing a story, its world is thin, unsatisfactory, untrue, until I start to find my way to those details, those ‘small cultural signifiers.’ As these accumulate on the page, the life in the piece thickens, the details breed, and the story begins to stir.”
Ashwin Sanghi first published his book, The Rozabal Line, on Lulu.com under the anagram Shawn Haigins. A revised edition of the book was published by Westland Ltd. & Tranquebar Press much later, and garnered controversy with readers pointing out similarities between its plot and the 26/11 terrorist attack on Mumbai. Sanghi’s response? “Any book based on research could have real life commonalities.”
Dominic Umile takes a look at the Daytripper, a comic by Brazilian brothers Fábio Moon and Gabriel Bá. The comic, which was selected recently for les Fauves d’Angoulême – the largest comics festival in Europe – concerns the “volley of riches and failure from the desk of an obituary writer.” As Umile notes, the art of obituary writing experienced quite a popularity surge in 2012. Times public editor Margaret Sullivan wrote about the regularity with which obituaries appeared on A1 in the paper, and the column even warranted the creation of its own dedicated Twitter account.
“I guess the book could be read also as poetry, but I just didn’t want to define this book, I didn’t want to put it under any label.” The Rumpus interviews Chilean author Alejandro Zambra about his newest book, Multiple Choice. And if you want more Zambra – and believe us, you do – we interviewed him too back in 2011.
“We always try to create the worst opinion of everything there is in the United States, as a response to what they have always done with us. The only difference is that we do not write falsehoods about the United States. I told you that we emphasize the worst things, that we omit things that could be viewed as positive, but we do not invent any lies.” This excerpted interview with Fidel Castro over at The Paris Review is enlightening for its candor and frankness.