At The New Republic, Andrew Wylie talks about how he made millions off strictly “highbrow” fiction, a category which (for those who are curious) does not include the works of James Michener and the late Tom Clancy. Wylie — whose clients include Philip Roth, Martin Amis and Mary Gaitskill — suggests that a modern literary agency “needs to be able to expand infinitely, like a Borgesian library.”
“I feel very transparent to myself. I’m more like an observer. I’m interested in what’s going on. I’m not sure that I really have a personality,” Joyce Carol Oates said in The New Yorker’s micro documentary about her writing life and routine. Pair with: our essay on Oates’ The Accursed.
What do you call a genre that mixes westerns and fantasy novels? Damien Walter proposes the term “weird western.” In The Guardian, he runs down the history of the hybrid category, citing Joe Abercrombie’s Red Country and Molly Tanzer’s Vermillion as examples. Pair with Daniel Kalder on the Euro-Western.
A newly released Roald Dahl collection, The Missing Golden Ticket and Other Splendiferous Secrets, includes a secret ending to Charlie and the Chocolate Factory and excerpts from the author’s hilariously bad report cards. Wrote one teacher about Dahl in 1931: “A persistent muddler. Vocabulary negligible, sentences malconstructed. He reminds me of a camel.” (via Galley Cat)
“João Gilberto Noll frustrates attempts to foresee the plot or to craft stories as they are traditionally understood and written. The series of events that appear in them are as tenuously linked into a broader narrative as those of a dream.” An interview with Noll translator Adam Morris.