Readers of The Neal Pollack Anthology of American Literature most likely have a good idea of just how much the late Norman Mailer was a wellspring of jokes about writers. The pugilistic novelist, journalist and failed mayoral candidate did choose to title a collection of his work Advertisements for Myself, after all. Yet as Andrew O’Hagan notes in the LRB, it’s hard not to admire the cojones on a guy who once told a prominent editor he was “still too young and too arrogant to care to write the kind of high-grade horseshit you print in Harper’s Bazaar.”
Why is Hamlet so maddeningly indecisive? It’s a question as well-trod as any in literature, yet few people question that dithering is what defines the Prince of Denmark. In The Irish Times, Brian Dillon looks at another way of thinking about the character, one laid out in a recent book, that centers on the idea that Hamlet is crippled by “the burden of knowledge itself.”
How The Daily Show may have an advantage over mainstream news, by virtue of its refusual to take “View from Nowhere.” Conor Friedersdorf makes the compelling case that comedy writers, with their eyes rooting out the absurd in the world, can put give the news some much needed perspective.
Roald Dahl’s estate has released a 1961 draft chapter of Charlie and the Chocolate Factory. The draft reveals a number of little-known characters the author later excised from the book. It also reveals that, at one point, the story featured as many as 10 golden tickets. The Guardian has the draft chapter in full.
“Internet-centrism, then, treats ‘the Internet’ as an object that acts on society from outside, rather than a technological form that emerges from within a particular social and political situation.” The Los Angeles Review of Books reviews Evgeny Morozov’s latest critique of the digital age, To Save Everything, Click Here.