The unreliable narrator is a bit of a cliche, but it’s still possible to write a good story that features one. At The Rumpus, Alex Dueben talks with Robert Boswell about his new book, which uses a technique Boswell calls “unreliable omniscience.”
In a short biographical piece for Open Letters Monthly, Sam Sacks writes about the book reviewing career of Katherine Mansfield and the ways in which it “helped her build the writing muscles needed” to finish her masterful short stories. While some critics might take umbrage at the way Sacks characterizes Mansfield as “turning out deadline copy like an ink-stained Fleet Street hack,” his look into her reviews culminates in the realization that “the point [of reviewing books] is not to be constructive but to construct something of lasting value in the little space and little time you’re granted. Like all writing, it should be a passion, not a pastime. The point is to dazzle.”
‘The 4½-foot tall poststructuralist philosopher I live with demonstrates a radical mode of viewership daily. Because of her, and with her, I am able—by moments—to move out of my own natural larval state and experience movies not just as deliverers of entertainment, conveyors of meaning, or objects of aesthetic contemplation, but as pure fields of emotional and sensory intensity, almost like rooms to which one can return.” Dana Stevens on watching movies with, and like, a child.
Let’s take a moment to be jealous of other countries, shall we? In Iceland, “one in ten [residents] will publish something in their lifetime.” Norway’s government “buys 1,000 copies of every book a Norwegian author publishes. It provides a $19,000 annual subsidy to every author.” In Argentina, “the city of Buenos Aires now gives pensions to published writers.”