A lot is written about artists just starting their careers, and about those artists with a lifetime of work to look back over, but in a piece for The Enemy Barry Schwabasky considers the difficulty of being somewhere in the middle of an artistic career. After all, “most artists do, for better or worse, live through what’s come to be known as their midcareer. It’s just that they don’t often do so with ease. … The middle of the journey sometimes seems to be all about losing the way.”
Out this week: The Laughing Monsters by Denis Johnson; Let Me Be Frank With You by Richard Ford; Mermaids in Paradise by Lydia Millet; Ugly Girls by Lindsay Hunter; Twilight of the Eastern Gods by Ismail Kadare; A Map of Betrayal by Ha Jin; Something Rich and Strange by Ron Rash; and Shark by Will Self. For more on these and other new titles, check out our Great Second-half 2014 Book Preview.
“Rather than showing one isolated capsule, the new hall would encompass nature and the human world…. The central theme would not be a certain animal, or even the landscape portrayed. Not one story but the fact that the stories are there. Albert E. Parr, strongly influenced by the burgeoning field of ecology, believed that the interconnectedness between disciplines was the story of the world.” Jaime Green writes for Longreads about the narratives behind the exhibits at the American Museum of Natural History. Also check out our own Bill Morris’s piece on the new Whitney Museum.
Both Flesh and Not, a posthumous collection of David Foster Wallace essays, is now out in paperback. Also out: Report from the Interior by Paul Auster; a new paperback edition of Stephanie LaCava's An Extraordinary Theory of Objects; and a new collection of essays by C.S. Lewis. For more on these and other great titles, check out our Great Second-Half 2013 Book Preview.
The Empathy Exams, a new collection of essays by Leslie Jamison, gets its title from a piece about medical acting that was published in The Believer. On the Harper’s blog, you can read an interview with Jamison, who calls her collection “a refusal to choose between these approaches — criticism, confession, journalism.” (Michelle Huneven interviewed Jamison for The Millions a couple of years ago.)
"Whenever I tried to invent a character or a situation, I felt a stab of guilt. I could hear my teacher's quavering voice saying, Write what you know! Why had she insisted on this so vociferously?" Writing class mantras are easy to impart but they are also easily misinterpreted. A.X. Ahmad, author of The Last Taxi Ride and The Caretaker, learns this truth the hard way as he tries to become a writer following a personal upheaval. Pair with Ahmad's Millions essay on "The Thriller, Reinvented."