Following the example of Flaubert, whose Dictionary of Received Ideas compiled the clichés of its day, Teju Cole set out on Monday to record his own clichés on Twitter. At Page-Turner, he sums up his experiment in a blog post. (You may recall that this is not the first time Cole has won acclaim for his Twitter account.)
“Stupidity stalks us all”
Too Much to Process
A couple weeks ago, Brian Ted Jones reviewed The Bone Clocks by David Mitchell, which “takes place on the margins of a grand, cosmic struggle.” Not long afterwards, at The Rumpus, Woody Brown offered a somewhat negative take on the book, arguing that Mitchell makes it too difficult for the reader to suspend her disbelief. You could also read Brown’s Millions review of Haruki Murakami’s new novel.
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“Never will I tire of that silvery fluidity”
“I hope this prize will incite thousands of British women to take close-up photos of their lovers’ bodies in all states of array and disarray.” Literary Review calls out the year’s most abominable sex scene.
Words Grow Arid and Stiff
Tim Parks writes for the NYRB about writers living abroad. As he puts it, “But what about those writers who move to another country and do not change language, who continue to write in their mother tongue many years after it has ceased to be the language of daily conversation? Do the words they use grow arid and stiff? Or is there an advantage in being away from what is perhaps only the flavor of the day at home, the expressions invented today and gone tomorrow? Then, beyond specifically linguistic concerns, what audience do you write toward if you are no longer regularly speaking to people who use your language?” Pair with Hannah Gersen’s Millions piece on reading the English translation of Jhumpa Lahiri’s In Other Words.
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An Amis For Us All
If this was the Summer of Martin Amis (which seems to have been the case), then prepare yourselves for the coming Fall of Kingsley Amis, courtesy of the folks at the New York Review of Books Classics and Vol. 1 Brooklyn.
“Platonic Word”
Recommended reading: Edward Mendelson reflects on “how bizarrely Platonic [Microsoft] Word can be” and on writing in WordPerfect, where “the world seems more open, a place where endings can’t be predicted, where freedom might be real.”
Translating After the Iron Curtain
The art of book translation becomes even more challenging when you translate a book that hasn’t been updated since the Cold War. At Asymptote, Jacek Dehnel discusses how much changed from Ariadna Demkowska’s 1962 translation of The Great Gatsby to his current work. “Demkowska was working under very different circumstances: behind the Iron Curtain and without access to Google. It was, therefore, more difficult for her to track down various details, such as those concerning well-known financiers or popular culture starlets of the 1920s.”
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Long-form Godfather
Ernest Hemingway, “the godfather of long-form” nonfiction? Richard Brody argues so in the New Yorker, citing Hemingway’s autobiographical, and wildly ambitious, The Green Hills of Africa.
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