“Fantasy is a tool of the storyteller. It is a way of talking about things that are not, and cannot be, literally true. It is a way of making our metaphors concrete, and it shades into myth in one direction, allegory in another.” Neil Gaiman reviews Kazuo Ishiguro‘s The Buried Giant for the New York Times Book Review and considers the power, and risks, of fantasy. Pair with Ishiguro’s talk with The Telegraph about the 10 years since the publication of Never Let Me Go.
The gorgeous paperback edition of our own Garth Risk Hallberg's A Field Guide to the North American Family is now out. Also new and noteworthy are Francisco Goldman's New Yorker excerpted story of the death of his young wife Say Her Name, Meg Wolitzer's The Uncoupling, Ann Packer's Swim Back to Me, Blake Butler's There is No Year, and Phillip Connors's intriguing debut, Fire Season: Field Notes from a Wilderness Lookout. Elsewhere, we've got Tina Fey's raved about memoir Bossypants and a new and long in the works biography of Malcolm X, whose author, Manning Marable died just last week on the eve of the book's publication. Finally, now out in paperback is the fiction blockbuster The Help.
Most of the time, when somebody insults a writer on Twitter, the insult disappears into the cyberspace ether. However, as with any rule, there are always exceptions, and one is when you trash Joyce Carol Oates and then thank her for inventing a breakfast food.
A designer from Copenhagen, Philipp Meyer (not the novelist), has created the first comic book for the blind. “Most of the tactile material that is available for blind people is very information dense. It’s always about information and not often about art,” he says.
Clare Beams reflects on her impressions of Little Women as a child and an adult at Ploughshares. A piece of her essay: “Of course, none of the real Alcott sisters could have fit into the spaces Little Women carved out for them. No real person could…. Real-life girls are messes of contradiction.” You could also read Deena Drewis’s essay on the perception of women’s writing and gender bias in publishing.