Will Self, whose novel Umbrella was recently tapped for the Booker Prize Longlist, talks about his literary influences with The Browser. For what it’s worth, here’s Self’s take on writing with the specific goal of a literary prize in mind: “I don’t know any writers who are trying to be clever and get a literary prize. Who the fuck would bother with such a thing?”
Sarah Fay, associate editor of The Paris Review, has a piece in The Atlantic on the digitization of book reviewing, framed beautifully by references to George Orwell’s 1946 essay “Confessions of a Book Reviewer.” She praises Bookslut, Nancy Pearl, Goodreads, and The Los Angeles Review of Books for their collective skills of recommendation, reviewing, and New Criticism. I’d add The Quarterly Conversation, The Rumpus, The New Inquiry, The Morning News (for their annual Tournament of Books feature), and of course, The Millions.
“I guess the book could be read also as poetry, but I just didn’t want to define this book, I didn’t want to put it under any label.” The Rumpus interviews Chilean author Alejandro Zambra about his newest book, Multiple Choice. And if you want more Zambra – and believe us, you do – we interviewed him too back in 2011.
Over at the Masters Review, Marjorie Sandor writes about the uncanny in literature and film, the origins of the word, and psychology. “Uncanny. Look it up in a standard collegiate dictionary, and you’ll get a brief, unhelpful definition. Seemingly supernatural. Mysterious. [orig. Sc & N. Engl.]. But the slippage has already begun. Seemingly.”
Humans have been covering paintings, windows, and mirrors after the passing of loved ones for generations. Why do we feel the need to close off our connection to the outside world when we are grieving? Colin Dickey writes about the social, literary, and religious connotations of grief and memory at Hazlitt. At The Millions, Lidia Yuknavitch writes about channeling her grief into art.