“What’s it like to write a novel in prison?” An interview with Daniel Genis addressing this and similar questions is online at The Airship. For more writing about and after prison, be sure to check out our own interview with Matthew Parker, author of Larceny in My Blood:A Memoir of Heroin, Handcuffs, and Higher Education.
At The Awl, James S. Murphy goes in-depth on the Stony Brook study, which I wrote about last week, that identified characteristics of historically successful books. In making a point about the publishing industry, he references the sale of our own Garth Risk Hallberg’s debut novel.
When our own Mark O’Connell reviewed Edouard Levé’s Autoportrait, he wrote that the book compels you to keep reading because “the more Levé says, the more facts he sets down, the more you realize he hasn’t said.” But what if at the end, you’re meant to reread the book, too? Over at Words Without Borders, Jan Steyn says “the only way to get a better idea of how [these sentences] fit together is to keep reading, and reading, until the end, and then perhaps to read the book again.”
Peter Osnos on how far the publishing industry has come since the galas and publishing events of the 1990s: “That the action in publishing now is in the creation of books rather than selling the rights to them is a meaningful indicator of the excitement in the industry about the digital potential.”