At Salon, Cornel Bonca reviews Roth Unbound, a new “hybrid” biography of Roth that New Yorker staff writer Claudia Roth Pierpont wrote after months of interviews. Although the book glosses over Roth’s personal flaws, it gives a great overview of his work, Bonca 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.”
“The idea was that whatever I felt or did resonated in life, caused people pain or happiness. This gave me a feeling of huge responsibility even as a child – to the extent that sometimes I had to block my own feelings or wishes. When I started writing fiction, suddenly I was allowed to do what I wanted.” Talking with Etgar Keret.
“BEST FEATURE: If you glance at the word it looks like it says ‘tiny axe’ which sounds very cute. It makes me picture a tiny lumberjack. WORST FEATURE: Anxiety can turn a pleasant afternoon into a sweat-drenched pair of slacks that are hard to explain.” Ted Wilson reviews anxiety (spoiler alert: it only gets one star out of five) for Electric Literature.
George Packer at Lapham’s Quarterly writes of meeting a young Burmese reader of Charles Dickens: “‘All of those characters are me,’ [he] explained. ‘Neither a British nor American young man living in the twenty-first century can understand a Dickens as well as I can…I am more equipped to understand Dickens than modern novels. I don’t know what is air conditioning, what is subway, what is fingerprint exam.’” (via Book Bench)