“’These issues are constantly being brought to the surface in Roman literature, if you have eyes to see them,’ Beard said. ‘And, of course, having eyes to see them—that’s what the trick is.’” Rebecca Mead writes for the New Yorker about Mary Beard, the Cambridge classicist famous for her BBC programs on Roman life and for her handling of online harassment. For more from Beard, check out her interview with the Los Angeles Review of Books about the importance of the classics, and for more about online negativity, head to Salon‘s article on “Why female writers get trolled the most.”
Although Jon Fosse is not well known in America, his work is revered in his native Norway, where he stands on a par with his onetime student and American celebrity, Karl Ove Knausgaard. In a piece for The Paris Review Daily, Damion Searls argues for Fosse’s relevance, claiming that Fosse is the only writer whose work made him weep as he translated it. You could also read Jonathan Callahan on Knausgaard’s My Struggle.
Another hip-hip for long-form journalism. George Packer‘s piece in the New Yorker on Richard Holbrooke and the Af-Pak War reminds one that some things — complicated geopolitical matters, for example — must be explored at length. Subscribers can read the full article in the digital edition here. Short of that, read Packer’s assessment of the McChrystal Report on his blog.
“She could be a diva, says this source, ‘but in a way I fucking admire it. The world would be a sorrier place without divas.’” For New York magazine, Boris Kachka on the drama behind Michiko Kakutani‘s departure from The New York Times and what her absence means for the world of books. Consider also: our own Matt Seidel‘s rogue’s gallery of prominent critics.
Tony Tulathimutte offers advice on lowering word count: Merge scenes, murder characters, quit writing altogether: “merge scenes, murder characters, ‘start as close to the end as possible’ (Kurt Vonnegut), quit writing altogether.” Pair with this Millions piece on writing slowly and by hand.