If you know that Patricia Highsmith wrote The Talented Mr. Ripley, you know that she’s an exceptional authority on the workings of the criminal mind. At The Paris Review Daily, Dan Piepenbring digs up an old interview with the author, in which she describes the act of murder as “the opposite of freedom.” You could also read Tana French on Highsmith’s Strangers on a Train.
In the June Atlantic, William Deresiewicz revisits that old favorite subject, the past and future of the Great American novel, in a review of two new books about the history of novels: The Dream of the Great American Novel by Laurence Buell and The Novel: A Biography by Michael Schmidt. (Dizzy yet? If not, consider nine other experts’ opinions on the Great American Novel here at The Millions, for a round dozen.)
Looking for more thoughts on My Life in Middlemarch to supplement today’s interview? At Salon, Laura Miller reviews Rebecca Mead’s book, which she calls a “moving demonstration” of Middlemarch’s power. (You could also read Adelle Waldman’s Year in Reading piece about the novel.)
Over at Catapult, Benjamin Wood writes about his eulogy for his grandfather, which led to his writing of The Ecliptic. As he puts it, “Or maybe, in this time of grieving, I was thinking only with my heart until my head began to listen. Today, it seems as though the entirety of The Ecliptic was held within my consciousness before I ever glimpsed a piece of it, and grief was what enabled me to notice.” Pair with Nagihan Haliloğlu’s Millions review of the novel.