What can we learn from anachronisms? That mistakes are “ultimately unavoidable – the best you can hope for is to keep them to a minimum and noticeable only by a tiny coterie of demanding experts” – and that if those mistakes are big enough, they can eventually turn into “enduring ideological constructs.”
Can confessional writing be literary? Kelly Sundberg writes, “When I sit down to write literary writing about my trauma, I am a writer first, and a trauma survivor second, but I am not ever not a trauma survivor, and as such, I am often interested in examining the roots and effects of my own trauma.”
New this week: Awl co-founder Choire Sicha’s debut Very Recent History; Elizabeth Cohen’s new story collection The Hypothetical Girl; Elect H. Mouse State Judge by Nelly Reifler; The Virgins by Pamela Erens (which Erens herself wrote about for us on Friday); The Rathbones by Janice Clark; and Necessary Errors by Caleb Crain. For more on these and other upcoming titles, check out our Great 2013 Second-half Book Preview.
Fans of the French Oulipo movement will know about A Void, the Georges Perec novel written entirely without the use of the letter “e.” What very few readers of any kind know, however, is that in 1939, thirty years before Perec’s novel was published, Ernest Vincent Wright wrote a book in English, Gadsby, that hewed to these same constraints. At The Atlantic, Nikhil Sonnad investigates how this experiment plays out in the book.