When it comes to the pleasures of reading out loud, Michael Robbins isn’t so much interested in “why we find certain sounds in certain combinations pleasing or disturbing,” but he does enjoy “the hows.”
It’s impossible to deny that memoir writing is having a bit of a moment, as more and more major books delve deeply into authors’ lives for material (here’s looking at you, Knausgaard). But what happens when memoir meets straight history? According to The Canadian Press, both genres only become more interesting. “[People] think non-fiction is just boring, fuddy-duddy history books, [but] if you look at Canadian literature right now, non-fiction is incredibly exciting.”
“It’s like a crackpot combination of Baz Luhrmann’s Moulin Rouge!, Ingmar Bergman’s The Magic Flute and Lars von Trier’s Dogville. Does this crazy idea work? Maybe 70 percent of the time, but when it does it’s both daring and brilliant.” At Salon, Andrew O’Hehir is surprised by Anna Karenina.
“If one-sentence stories are as common as snowflakes, one-sentence novels are as rare as white ravens.” At The New Yorker, Brad Leithauser writes about the one-sentence novel or the point when the story builds to a particular sentence. To give you an example, here’s one of his favorites from Lolita: “I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art.”