Year in Reading alum Maud Newton has a new short story up on Medium. Titled “Nobody’s Stranger,” the “Miami noir love story” somewhat wonderfully features a bar, “the most incongruous bar in Little Haiti,” in which the patrons are mostly “aging emo kids and British soccer fans and overweight burlesque enthusiasts.”
"I thought there were would be more in this writing life, an easier path to walk. I write those words and know they are the unwise thoughts of my younger self and that I am still too stubborn to give up on my dreams. When Annie Dillard invited me outside for that smoke, she knew very well what it would mean to a young writer like me. She intuited my ambitions and it was her way of encouraging me." This essay is ostensibly about smoking cigarettes and playing catch with Annie Dillard, but it's also about the incredibly important role that an established writer can play in helping a struggling up-and-comer.
Literary fame is a knotty thing. It’s hard to predict exactly who will be known for centuries, and why. William Wordsworth, for example, owes at least part of his fame to the Lake District, which started to use him in their tourist campaigns not long after his death. In The New Yorker, Joshua Rothman takes a look at H.J. Jackson’s Those Who Write for Immortality. Related: Gina Fattore’s recent essay on fame and money.
“His writings rarely make it to the US, and are resolutely for an Indian readership. They will win no prizes nor inspire dissertations. But for these reasons they represent the actuality of what many people in the world are reading today, outside of the newly sanctified category of the 'global novel.'” Ulka Anjaria for Public Books on Chetan Bhagat, “possibly the most successful Indian English novelist ever” and largely unheard of in the west. For more fictional Desi perspectives, read Aditya Desai in our own pages on reading narratives of Indian women.