Recommended Reading: Nicole Krauss’s new short story, “I Am Asleep but My Heart Is Awake,” at The New Republic. “My mother had died when I was three. We had already dealt with death, in our way we’d agreed to be finished with it. Then, without warning, my father broke our agreement.”
Fatherless Fiction
Who Wouldn’t Want to Retire Here?
A retired Japanese couple has teamed up with an architecture firm to design “a house with a bookshop and a café where neighbors and visitors can stop by.” The result is a decidedly more spacious and well-lit version of Brazenhead Books – another domicile/bookshop.
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The Sorrows of Lot
At The Rumpus, Kate Angus argues that salt, far from being simply a pillar of the spice trade, is in fact “the physical manifestation of the basic triad of our lives: love, work, and grief.”
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Adichie Hints at Americanah Film
Now that we’ve casted the film adaptation of Donna Tartt’s The Goldfinch, we’d like to turn your attention to Chimamanda Ngozie Adichie’s Americanah, which may be involved in an upcoming collaboration with Oscar winner Lupita Nyong’o. Adichie framed the possibility this way in a recent interview: “I’m going to do the mysterious thing and say that Lupita might be making an announcement very soon.”
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A Definite Orange Theme, It Seems
The Twelve, Justin Cronin’s follow-up to The Passage, now has a cover and release date.
This Is Not Confessional Poetry
Over at the Bennington Review, Michael Dumanis interviews Year in Reading alumna Dorothea Lasky about persona poetry, the first-person “I,” and creativity. Pair with Gila Lyons’s Millions essay on creativity and madness.
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Fellow Writers
BuzzFeed is looking for the next round of applicants for their annual Emerging Writers Fellowship, which has a mission to “diversify the broader media landscape by investing in the next generation of necessary voices.” The fellowships are given to four nonfiction writers and include a $12,000 stipend and career mentorship from BuzzFeed’s editorial staff. The deadline is October 1.
Tuesday New Release Day: Moore; Li; Wilson; Stace; Harbach
Lorrie Moore, who we profiled yesterday, has a new story collection on shelves this week. Also out: Kinder Than Solitude by Yiyun Li; What’s Important is Feeling by Adam Wilson; Wonderkid by Wesley Stace; and MFA vs. NYC, a new essay collection (spun off from an n+1 piece) edited by Chad Harbach.
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This caught me off guard. The New Republic publishes fiction now? But now it makes sense: Krauss is the editor’s sister-in-law. This so perfectly represents the insularity and cronyism in American fiction these days. You just can’t make this stuff up.
Serious question: what about this story (and Krauss in general) led you to recommend it? It’s so unoriginal and insipid that I just can’t for the life of me understand why this piece, out of hundreds that are published every day, stands out. How would you define Krauss’ style? What sets her apart from other writers? What makes this story different than the “person dealing with a parent’s death” stories that are churned out daily in undergraduate workshops?
^^You realize you’re talking to an aggregator bot right?