It’s rare that a writer decides his new novel will be his last, but that’s exactly what Michael Faber has done with regards to his latest, which comes out this week. In the Times, he talks with Alexandra Alter about his decision, saying: “I felt that I had one more book in me that could be special and sincere and extraordinary, and that that would be enough.” It’s probably a good time to read our own Bill Morris on the history of literary retirements.
“It took me ten years (four of writing, six of rewriting) to complete The Listener. Now ‘trans is trending,’ and the book has been published into this particular cultural moment, one I could never have envisioned twelve years ago.” Rachel Basch discusses writing in the context of social change at Lit Hub. Pair with our own Sonya Chung’s piece on literary activism.
The premier English-language translator of modern Chinese fiction, Howard Goldblatt, says flatly that Western audiences don’t read Chinese books. However, with last year’s Nobel Prize win for Mo Yan (and the rave review his novel Pow! received in the Times), Goldblatt and other scholars are hoping that could change.
Year in Reading alum Chang-Rae Lee has a new book out this week, and its cover is making headlines. Readers who buy the limited edition of On Such A Full Sea will get the first 3D printed book cover in publishing history. According to the printers, each cover took fifteen hours to make.
Peg Plunkett was an 18th-century Dublin courtesan who decided one day to make some money by publishing a series of memoirs. Now, over two hundred years after Plunkett sketched out her life story, Professor Julie Peakman has rewritten all three volumes for a modern audience. In a piece for The New Statesman, Sarah Dunant reviews her edition of Plunkett's oeuvre.