Palgrave Macmillan is posting sample chapters from book proposals online, inviting comment “from anyone who feels they can contribute to the development of the works in question.” The trial will continue for the next six weeks.
“To age is to understand that the powers of total recovery are gone, are no longer anticipated (except by those who, having lost their marbles, no longer know what to anticipate).” The epistolary legacy of writers such as Samuel Beckett, Saul Bellow, and Elizabeth Bishop offers invaluable insight into the process of growing older, writes Robert Fay for The Atlantic. See also our own Lydia Kiesling on the narrative possibilities of leaked emails.
“The easiest way to appear to be well-read is to socialize exclusively with uncultured cretins, which simply won’t do, so instead you should subscribe to the New York Review of Books and read it religiously, committing to memory one idea from each piece and praying to achieve a casual air when, at a dinner party, fobbing off this insight as your own.” Advice from Slate on how to appear well-read, with some bonus advice on how to actually become well-read, just for good measure.
It doesn’t get much better than James Wood on Joy Williams: “Nothing is stranger (and funnier) in Williams’s work than her details. Like her forms, they only resemble conventional realist details, an atmosphere perhaps encouraged by her flat, functional sentences (“They danced. Sam had quite a bit to drink”). The details are frequently surreal, magical, hallucinogenic, delivered in a cool, dispassionate, routine manner.”
Joshua Cohen, author of the just-published meganovel Witz, dispenses provocations in The New York Observer: “The targets might be Michael Chabon, Jonathan Safran Foer, Shalom Auslander… When I started this book, I wanted to sleep with their wives. By the time I finished, I wanted to sleep with their mothers.”
“We connect with books in an intellectual way, but the most valuable relationships we have with them are emotional; to say that you merely admire or respect a book is, on some level, to insult it. Feelings are so fundamental to literary life that it can be hard to imagine a way of relating to literature that doesn’t involve loving it. Without all those emotions, what would reading be?” Joshua Rothman on “The History of ‘Loving’ to Read.”