Joel Rice has a new column up at McSweeney’s, in which he looks at “the literature of skateboarding.” All in all, this kind of reflective writing should pair nicely with Nick Courage’s fantastic Paris Review piece from last month. (Bonus: Rice’s column linked above also features a nice little bit of David Foster Wallace memorabilia.)
The Literature of Skateboarding
“He hasn’t come down since”
According to a new biography of Richard Pryor, the legendary comedian kicked off his career as a teen in Peoria, Illinois, when he starred in a play based on Rumpelstiltskin and “broke the other kids up.” At The Nervous Breakdown, nine choice passages from the book.
Maybe This Is Why They Take So Long to Finish
Robert A. Caro, who releases new installments of his Lyndon B. Johnson biography at a glacial pace, is apparently also working on another project, too. It’s “not a memoir, exactly,” he says, but it does concern “how he came to write the Johnson biography and its predecessor, The Power Broker.”
Read with your Ears
“You can’t read books all the time; trust me, I’ve tried (and like I said to the officer, at least I wasn’t texting and driving).” Simon Lowe chooses his 10 favorite book podcasts for The Guardian. We featured a list of some must-listens earlier this year too.
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Searching for the Female Huck Finn
Where’s the female counterpart to Ishmael or Sal Paradise, Vanessa Veselka asks. “When a man steps onto the road, his journey begins. When a woman steps onto that same road, hers ends.”
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Obsessing Over Women
Parul Sehgal cures your “bland biography”-induced malaise by prescribing “three delightfully deranging books” in which writers “riff on the women who’ve consumed them.”
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A Rush of Blood to the Head?
An intriguing pairing: Norman Rush tackles James Ellroy‘s Blood’s A Rover in the current New York Review of Books.
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Capital Idea
“The Goldfinch is a grand nineteenth-century novel in that it is an 800-page chronicle of capitalism, a paean to the ways in which the world turns on the questions of who can or can’t pay for what, and how these abilities and inabilities mold us over time. Like the life events and relationships it depicts, it purports to be about love but is actually about money. This portrayal of twentieth century North American society is accurate, but also, just as in life, both exhausting and demoralizing.” On Donna Tartt’s latest novel. (You could also read Adam Dalva’s take on the book.)
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