Is “the two-person collaboration… the essential creative act”? Joshua Wolf Shenk thinks so, and he’s written a book defending his position, aptly titled The Powers of Two: Finding the Essence of Innovation in Creative Pairs. While John Lennon and Paul McCartney are his primary examples and the root of his argument, famous author duos are also referenced – C.S. Lewis and J. R. R. Tolkien, for one. Shenk even “works to transform even famously lonely figures — Rainer Maria Rilke, Emily Dickinson, Martin Luther King Jr. — into one side of a duet.” Consider us skeptical but intrigued.
“‘Moby Dick is one of my favorite books, but let’s face it — it’s a hot mess,’ says Evison. ‘If I had software that said, ‘Look, maybe this four-page essay on scrimshaw isn’t gonna fly with your 28 to 40 male [demographic],’ what would we have lost with that? Sometimes, you know, it’s just got to be a little bit of a dictatorship.'” When e-readers and marketing tactics collide.
Out this week is a highly touted seafaring debut We the Drowned. This book in translation is by Danish writer Carsten Jensen. Another debut effort arriving this week is Open City by Teju Cole, which PW likened to Coetzee, Sebald, and Nicholson Baker. Out in paperback today are Adam Haslett’s Union Atlantic and controversial Millions Hall of Famer Reality Hunger by David Shields.
All the world is about to become a stage. The Globe Theatre will be performing Hamlet in every country on Earth starting on April 23, 2014, Shakespeare’s 450th birthday. The 205-nation tour should take two years. This is one of many Shakespearean anniversary celebrations including contemporary authors covering his classics.
For a man who’s retired, Philip Roth is still oddly present in the literary world. Ever since he announced his intention to quit writing, he’s made a stream of public appearances, including an awards ceremony at Yaddo one week after claiming he’d never appear on stage again. So what gives? In The Baffler, J.C. Hallman explains why writers can never really quit, in a piece that nicely complements our own take on literary retirement. FYI, Hallman has written for us.