Your daily Canada: Michael LaPointe wonders what happened to the genre of CanLit.
New this week: The Faraway Nearby by Rebecca Solnit, The Silver Star by Jeannette Walls, Crazy Rich Asians by Kevin Kwan, The Engagements by J. Courtney Sullivan, The Execution of Noa P. Singleton by Elizabeth Silver, Bobcat by Rebecca Lee, and a retelling of One Thousand and One Nights by Hanan al-Shaykh, with a foreword by Mary Gaitskill.
Today is Haruki Murakami's birthday, so what better day to announce the title of his next work, Kishidancho Goroshi (Killing Commendatore)? The novel, which is divided in two parts - Arawareru Idea (Emerging Idea) and Utsurou Metaphor (Moving Metaphor) - is slated for a late February release in Japan. As of this writing, very little is known about the novel's plot.
Short on insult fodder? In that case you’ll want to read Colin Burrow’s review of Melissa Mohr’s Holy Shit: A Brief History of Swearing. It includes such notables as: “slapsauce fellows, slabberdegullion druggels, lubbardly lowts … slutch calf-lollies, grouthead gnat-snappers, lob-dotterels, gaping changelings, [and] codshead loobies.” In the end, “swearing is one of the most basic human acts,” he writes.
There's just something about David Foster Wallace's writing that makes people want to adapt it. We've written about this phenomenon before - there have been Infinite Jest-inspired radio tributes and music videos, series of illustrations, even a novel-in-legos. Interest in adapting Wallace's work doesn't seem to be slowing, and earlier this month Public Theatre put on an experimental performance of passages of his writing and interviews, A (Radically Condensed and Expanded) Supposedly Fun Thing I'll Never Do Again, which both Salon and Hyperallergic reviewed.
Philip Roth may have retired, but that doesn’t mean he’s done giving interviews. The author recently sat down with the editor of a Swedish newspaper, who talked with him about misogyny, Sabbath’s Theater and the need for “obstinacy” in a writer. (Related: our own Hannah Gersen reviewed Roth Unbound.) (h/t The Paris Review)
Sam Tanenhaus, editor of the New York Times Book Review, talks to Noah Charney about his life, his work, and his taste in books. Answers are typical but insightful, with one incredibly colorful exception: Tanenhaus’s ideal workplace is bizarre. (Hint: The atmosphere falls somewhere between a nuclear fallout shelter and the kind of place you would keep a hostage and it’s nothing like where we write.)