Whether or not you believe that Oxford University Press is “the largest, most diverse and most respected university press in the world,” you’ll appreciate this review of a new history of the company, which goes through OUP’s origins, its relationship with its namesake and the opening of its New York office in 1896.
At Jacket Copy, Carolyn Kellogg talks with Jonathan Lethem about his new novel Chronic City “I love to dwell in the space of a novel — I don’t find writing uncomfortable, it’s something I really love doing. Writing a long novel, especially, it means that I’m creating this whole other set of people that I’m interested in, and this whole other world I get to go into, and I try to stay there. I try to go every day, not just to see the word count amass, which is helpful, but because then my subconscious is kind of living there.”
“What does it look like to be the child of war? A product of war? What does it look like to be a queer child from a very traditional Confucian family? How does one feel to pay homage to a family but to also, in a way, betray those familial values?” Kaveh Akbar interviews Ocean Vuong about linguistic identity, syntax, and the American gaze for Divedapper.
This morning, the longlist for the 2015 IMPAC Dublin award came out, and the nominees include some familiar names. Year in Reading alum Chimamanda Ngozi Adichie’s Americanah is on there, as is Neil Gaiman’s The Ocean at the End of the Lane (reviewed here by our own Tess Malone), Donna Tartt’s The Goldfinch (which won this year’s Pulitzer) and The Flamethrowers by Rachel Kushner (whom you can learn more about in this essay by our own Bill Morris).
This year, the good folks at Slate and the Whiting Foundation kicked off a new literary prize, intended to reward authors for great second novels. To wrap up the year, they’ve asked several winners of the prize, including Akhil Sharma, Helen DeWitt and Daniel Alarcon, to write short pieces about objects that symbolize the writing process for their books. (Akhil Sharma chooses a stopwatch, while Eileen Myles chooses a can of Cafe Bustelo.)