In 2010, the poet Tarfia Faizullah traveled to Bangladesh to speak with the survivors of the 1971 Liberation War. Eventually, she wrote a poetry collection about those interviews, which went on to win the Crab Orchard Series First Book Award. At The Paris Review Daily, Sean Carman interviews Faizullah.
Susan Sontag once wrote that the truest way to portray illness was without metaphor. Our own Marie Myung-Ok Lee takes a look at autism in recent literature and the ways its writers (ranging from Don DeLillo, Jonathan Lethem, and Louise Erdrich) have often reduced those with autism to a literary construct.
“Two writers guard an archive. One writes Fiction; the other writes Fact. To get past them, you have to figure out which is which.” Recommended reading: The New Yoker‘s Jill Lepore attempts to trace the “long-lost story of the longest book ever written,” Joe Gould‘s The Oral History of Our Time.
Out this week: Thomas Murphy by Roger Rosenblatt; The Deep Sea Diver’s Syndrome by Serge Brussolo; Weathering by Lucy Wood; Remains by Jesús Castillo; and What Belongs to You by Garth Greenwell (which we reviewed). For more on these and other new titles, go read our Great 2016 Book Preview.
“All of a sudden, things that should be banal, like a person’s face—the fact that a person has a face—becomes extremely disorienting. In these moments, I think it’s important to keep those strange commas.” In an illuminating interview for Asymptote, Year in Reading alumna Katrina Dodson talks about the thrills and challenges in translating The Complete Stories of Clarice Lispector. Pair with Magdalena Edwards’s Millions review of the collection.
Over at the Observer, Brent Underwood writes on how he self-published a fake book on Amazon. He sold a total of three copies, enough for him to earn the #1 Best Seller badge in several categories. Now his fake book has landed an actual book deal and is available in paperback.
“The idea came to Mr. Mallory one night as he sat on his couch watching an old favorite, Hitchcock’s Rear Window. Out of the corner of his eye, he noticed a lamp switch on in the apartment across the street.” Published under a pseudonym, former executive editor Daniel Mallory‘s debut novel The Woman in the Window was acquired and published by his own imprint. Pair with: an essay about the emergence of “reimagined thrillers” that create characters out of setting.