Recommended viewing: Tobias Wolff tried to convince Stephen Colbert that The Catcher in the Rye is J.D. Salinger’s best book. “Do we need to be reinforcing our kids’ bad behavior as teenagers with the idea they could be a character in a great novel? Dad, I wasn’t disobeying you, I was exploring modes of alienation,” Colbert joked.
“What stereotypes will they critique, destroy, or create? What, in other words, will the post-earthquake novel reveal about Haiti’s most recent losses, obstacles, and hopes for the future?” Patti Marxsen on the post-earthquake Haitian novel, over at The Critical Flame.
“Many writers write vexed introspection, or detail-oriented reporting, or counterintuitive cultural commentary, or lifestyle journalism. But so far only Didion has done all four in perfect synthesis, a prose that, at its best, can fire on every cylinder and work on multiple fields of the imagination at once.” In support of the Kickstarter project for the documentary on Joan Didion, We Tell Ourselves Stories in Order to Live, Nathan Heller looks back over Didion’s writing career, her “imaginatively seductive” nonfiction writing and her carefully constructed confessionalism in a piece for Vogue.
“I slumped into an empty corner opposite Say Goodbye, Cattullus and wept into my knees for a half hour.” Catherine Lacey writes for The Paris Review‘s “Revisited” series, “in which writers look back on a work of art they first encountered long ago.” Pair with our own Bill Morris‘s consideration of artists whose works channel writers.
According to the New York Post, a new installation by British artist Antony Gormley–life-sized, cast iron sculptures of men placed on rooftops and building ledges around the city–has caused some New Yorkers and NYPD officers to take the sculptures for live jumpers. Oh, the price of art!