How did the game of chess inform the work of Samuel Beckett? Stephen Moss investigates.
Out this week: The Familiar, Volume 1 by Mark Z. Danielewski; The Green Road by Anne Enright; The Book of Aron by Jim Shepard; The Edge Becomes The Center by DW Gibson; The Daemon Knows by Harold Bloom; How to Start a Fire by Lisa Lutz; Girl at War by Sara Novic; The Subprimes by Karl Taro Greenfeld; and City by City, an essay collection edited by Keith Gessen and Stephen Squibb. For more on these books and other new titles, go read our Great 2015 Book Preview.
The King’s Speech is the first film to portray my speech defect realistically, says novelist David Mitchell.
“I couldn’t tell if a poem I was writing would come to anything or not until the last line was there. That’s always been my method. I may have revised less than some other poets, but I think I write as much crap as anyone.” Kaveh Akbar interviews Sharon Olds about inspiration, contemporary poetry, and rejection letters for Divedapper. Pair with this Millions piece, featuring seven editors looking back on their rejection styles.
The Coffin Factory, a “magazine for people who love books,” interviews New Directions’ Barbara Epler and Tom Roberge about “publishing and finding bold, new experiments in literature from around the world.” (via)
“Joseph K., that icon of single-lettered anonymity from Franz Kafka’s novel The Trial,” writes Tom Engelhardt for Guernica, “would undoubtedly have felt right at home in [James] Clapper’s Washington.”