On the persistent popularity and flexibility of Cinderella, from old folktales featuring talking gourds all the way to the upcoming Disney version, from NPR.
If news of László Krasznahorkai winning his second straight Best Translated Book Award for his recent novella, Seiobo There Below, got you interested in reading the Hungarian author’s works, then look no further. Scott Esposito offers a handy road map entitled “Krasznahorkai: A Guide for the Perplexed and Fascinated.”
“In publishing, we see this play out in a number of ways. Marginalized writers are told by white editors, we need your stories now more than ever, as if we have not always needed them urgently. We are told our experiences are timely, exotic, and trendy. We are told our stories are not authentic if our characters do not suffer, as if the only way to prove that we are human is to bleed.” Natalia Sylvester on the erasure that comes when marginalized writers are constantly being told by the publishing industry and others that your book about your marginalized identity is ‘timely’.
“No one was more grimly adamant that the world was in mortal peril, or had more fun trying to save it from itself.” Over at The New Yorker‘s Page Turner blog, Alexandra Schwartz considers the life and work of Grace Paley, noting that Paley’s slim output “is a great shame, if not so surprising. Activism, like alcoholism, can distract a writer from the demands of her desk.” Also of note: this tribute to Paley that our own Garth Risk Hallberg wrote upon her death in 2007.
“For Germany, the Wagners are what the Atreidai are in Greek mythology. One of them, Atreus, committed a grave sin, casting a curse over all subsequent generations, beginning with Agamemnon and Menelaus, followed by Iphigenia, Orestes and Electra. The family is marked by enmity, as is the Wagner family.” On a certain influential composer.
Haruo Shirane writes for Public Books about writing and publishing in the age of English. As he explains it, “For those living in the Anglosphere, no barrier seems to stand between their world and the many other worlds that now appear at the push of a button. But for those outside that world, particularly in non-European countries, the literary and linguistic consequences of globalization in the age of English can often be severe.”
Who knew? Here’s a handy infographic from Electric Literature that highlights seventeen films you probably didn’t know were based off of books.