“All I know was that in Paris I felt haunted, like a double exposure photograph that shows a figure and then a milky specter behind. I felt stalked by a creature of my own making, a monster that was both my mother and myself.” Darcey Steinke writes about Paris, loss, and monsters in an essay for Granta.
What’s the greatest tool to create suspense? An unreliable narrator, according to Gillian Flynn, who is a master of them if you’ve read Gone Girl. She discussed how to write a good thriller, why she doesn’t believe in guilty pleasure reading, and her ambitious quest to read every Pulitzer Prize-winning novel in chronological order in a New York Times “By the Book” interview. Pair with: Our conversation about Gone Girl.
“One of the advantages to being a novelist is removing oneself from the chatter of the fray and trying to get a read and a historical context on what’s happening in one’s own time.” The Guardian interviews Rachel Kushner about women’s prisons, remorse, and her new novel, The Mars Room. Pair with: our review calls Kushner’s latest a “brutal, unforgiving, and often grimly funny tour de force of wasted lives.”
“To be able to sing under that kind of oppression I think, in a lot of ways, is the very essence of survival, of a people, of the ability to have to the hope to make something beautiful amongst so much wretchedness.” Tyehimba Jess, author of the fantastic new collection of poetry Olio, is interviewed over at The Literary Hub.
He befriended Mark Twain. His father wrote The Scarlet Letter. He drank wine with Oscar Wilde, George Eliot and Henry James, and William Randolph Hearst once hired him as a reporter. He even published a few books to critical acclaim. So why do so few of us know anything about Julian Hawthorne? In the WaPo, Michael Dirda reviews a new biography. (h/t Arts and Letters Daily)