“The immigrant who arrives too late in life to adapt to his new country, but too early to survive on nostalgia for the old country, has to create a third, imagined country to live in.” Peter Pomerantsev writes for the London Review of Books about Brighton Beach, Russian immigrants and a “self-made America.” Pair with Matthew Wolfson‘s review of Yelena Akhtiorskaya‘s novel of Brighton Beach and Odessa, Panic in a Suitcase.
The University of Texas at Austin has recently acquired Kazuo Ishiguro’s archive. The collection reveals early drafts, a pulp Western novel that Ishiguro thought had been lost, and his early attempts at songwriting. “For many years,” he said, “I’ve been in the habit of keeping a large cardboard box under my desk into which I throw, more or less indiscriminately, all papers produced during my writing that I don’t want to file neatly and take into the next stage of composition: earlier drafts of chapters, rejected pages, scraps of paper with scribbled thoughts, repeated attempts at the same paragraph, etc.”
The unwritten rules of steampunk declare that in every steampunk story, the Hindenburg never caught fire, the world never lost its desire for blimp travel and the skies are dotted with hot air balloons and zeppelins. As it happens, this element of the genre stems from old utopian narratives, many of which depicted a future of widespread balloon travel. At Salon, Kyle Minor reviews the audiobook of a new history of the hot air balloon, written by Richard Holmes, that shows how the rise of air travel changed the world’s imaginative territory.
“It’s likely Lucia would have felt more comfortable watching a bull be gored in a Mexico City arena or huddling among winos on a corner in Oakland than she ever felt at her first place on posh Mapleton Hill.” Elizabeth Geoghegan for The Paris Review on Lucia Berlin, whose A Manual For Cleaning Women is out now.
“It is not, however, fashionable to love acknowledgments, and for good reason: Most of them are numbingly predictable in their architecture, little Levittowns of gratitude.” In her last piece for The New York Times as a daily book critic, Jennifer Senior writes about her unabashed love for acknowledgements in books. From our archives: Henriette Lazaridis‘s essay on the same topic.