“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.
Yesterday marked eight years since a devastating earthquake struck Haiti and a few days ago Trump put the country back in the news (but not in an reflective or uplifting way). Looking to learn more about Haiti sans racist rhetoric? The New York Times has “three books by Haitian writers that provide insight into the country’s history of struggle and resistance.” Find the list here.
Looking for someone to whip your writing into shape? Then tweet the new Gordon Lish bot, a Twitter account which offers unvarnished critiques of your tweets and fictional sentences. (Related: Frank Kovarik on the editor’s relationship with Raymond Carver.)
From one great publication to another: The Atlantic gushes over the “phenomenal” New York Review of Books.
The New York Public Library’s research collection will be moving to an impressive concrete bunker beneath Bryant Park (instead of the much protested option—New Jersey). Our own Michael Bourne writes about how the subway car, once a rolling library, is transitioning to digital.
“Life is weird and dumb and restrictive, but a poem can be whatever the hell you want it to be for god’s sake. Other people will always have opinions, they’re just really none of my business.” In an interview at the Lit Hub, Tommy Pico talks about poetry and his creative process.
Here at The Millions, we know the importance of a book’s cover (for evidence see here, here, here and here), so Margaret Sullivan‘s new project, Jane Austen Cover to Cover, has our attention. A sample of covers for Emma, available on The Paris Review‘s blog, “provides a fascinating glimpse into a variety of publishing cultures, and it reminds that even our classics are mutable, pitched to appeal to any number of sensibilities, their literary status in constant flux per the dictates of the market.”