Do people enjoy writers like Pynchon and Nabokov in part because they’re so odd? A new paper suggests that we tend to like art when we believe its creator is eccentric. The Atlantic reads through a study that’s a bit of a strange one.
“’When I finish reading one of her stories, I always feel understood and somehow forgiven for being human,’ Mr. George said. ‘It may simply come down to wisdom. Like the greats, Edith has it.'” Steve Almond gives an overview of Edith Pearlman‘s writing and publication history for The New York Times Book Review in the wake of the release of her latest collection, Honeydew, which Josh Cook recently reviewed for The Millions.
“This is the first time that the college has embarked on such a robust process for measuring Core Educational Competency In Reading Things In Books And Writing About Them, and we really can’t do it without your mandated participation. We have devised this rubric in consultation with the Office of Institutional Research About the Institution, which tirelessly gathers data and then enters it into spreadsheets. Please see their Statement of Very Worthy Goals in attachment 6.”
Warren Ellis’s Dead Pig Collector was released this week as a Kindle Single, and with it came a whole heap of extras. To wit: there’s an online excerpt, an author interview, another piece of fiction, and also an accompanying music playlist created by the author. (In that interview, he remarks that his next novel will be based on this talk he gave two years ago.)
“All war literature, across the centuries, bears witness to certain eternal truths: the death and chaos encountered, minute by minute; the bonds of love and loyalty among soldiers; the bad dreams and worse anxieties that afflict many of those lucky enough to return home.” In an omnibus review for The New York Times Michiko Kakutani looks at the fiction and journalism being written about the wars in Iraq and Afghanistan, including recent Year in Reading alum and National Book Award winner Phil Klay‘s Redeployment and Dexter Filkins’s The Forever War, “the one book that most fluently and kaleidoscopically captures both the micro and the macro of Iraq.” She also wonders, and attempts to explain, “why has there been no big, symphonic Iraq or Afghanistan novel?”