“His books are not only obviously produced by an obsessive film buff (as evidenced by one wry recurring trick, the dates in brackets that follow even citations of celluloid ephemera), they often seem to want to be movies, as shown by another signature device, the way his protagonists – from the 1890s European spies and 1950s New Yorkers in the interwoven narratives of his debut, V. in 1963, all the way to Inherent Vice and Bleeding Edge in 2013 – break anti-naturalistically into song like characters in musicals.” An argument that Thomas Pynchon writes fiction tailor-made for the cinema.
Across the Screen
What Is Grief?
“Is grief a condition of love? Does grief prevent us from making peace within ourselves and with each other?” For the Kenyon Review, Rosebud Ben-Oni writes on grief as waiting. Pair with Lidia Yuknavitch’s Millions essay on grief and art.
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Here They Come
Ever since the Man Booker prize was opened up to American writers, there’s been a renewed debate about America’s contributions to the literary scene. Many people have wondered who past Bookers would have gone to had American authors been eligible. At The Guardian, a roundtable including Year in Reading alum Joshua Ferris, Curtis Sittenfeld, Edna O’Brien and Martin Amis pick American books they think would have won if they’d had the chance. You could also read Joanna Scutts on the history of the prize, or check out the most recent Booker shortlist.
Literary Daddy Issues
Writing in The Guardian, Colm Tóibín explores the “inspiring, rivalrous, Oedipal” relationships between authors and their parents. The article’s been adapted from his forthcoming book, New Ways to Kill Your Mother: Writers and Their Families
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Millions Staffer Hallberg’s Big Novel, Coming Soon
Congratulations to our longtime staff writer and contributing editor Garth Risk Hallberg, whose large first novel, City on Fire, will be published by Alfred A. Knopf.
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Express Literature
In São Paulo, books also serve as subway cards — i.e., the future of literature.
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Getting Graphic
Hyperallergic has excerpts from Rokudenashiko’s graphic memoir What Is Obscenity? The Story of a Good For Nothing Artist and Her Pussy, which Michael Melgaard recently reviewed at The Millions.
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