No one knows quite how to categorize Max Blecher’s Adventures in Immediate Unreality, in part because it has elements of a novel, a memoir and a long poem. The early 20th century Romanian writer chronicled his own slow death and the effect it had on his senses. At The Paris Review Daily, Andrei Codrescu writes about a reissue of the book.
This week in book-related infographics: an “Obsessively Detailed Map of American Literature’s Most Epic Road Trips.”
Anthony Domestico, who studied under James Wood at Harvard, turns in a review of the critic’s latest non-fiction collection, The Fun Stuff. Aside from penning an astute review of the book, Domestico draws from his firsthand experience with Wood to pepper his write-up with details such as this: “While puzzling over a complex passage, he would vigorously rub the top of his head, as if hoping to coax interpretive brilliance from his bald spot like a genie from a lamp.” (Bonus: our own Lydia Kiesling takes a look at Wood’s latest for Bullet Media.)
Stephen J. Gertz shows off some of Bukowski’s artwork; Sketches of F. Scott drawn by Zelda Fitzgerald and a portrait of their relationship by Anne Margaret Daniel; An interview with three of the more than 130 artists involved with The Graphic Canon, a series of illustrated literary classics.
Fans of Moby-Dick should read Nathaniel Philbrick’s outstanding historical account In the Heart of the Sea. The book, which tracks the fate of The Essex, a New England whaling vessel sunk by a humongous sperm whale in the South Pacific, is vivid and harrowing. It’s also, as it turns out, only one of the naval catastrophes to befall George Pollard, Jr., The Essex‘s captain: a second wreck of his was recently located off the coast of Hawaii.
On the heels of a New Mexico school district banning Neverwhere because a mother considered it “R-rated,” Neil Gaiman delivered a lecture for the Reading Agency about the importance of libraries and reading for children. “It’s tosh. It’s snobbery and it’s foolishness. There are no bad authors for children, that children like and want to read and seek out, because every child is different,” he said about banning books.
“Melville fell in love with the dashingly handsome older author the first time they met, and his forbidden passion drove him to create the symbol of impossible longing that now represents American literature to the rest of the world: the white whale.” On Herman Melville’s love for Nathaniel Hawthorne. Pair with a review of Hawthorne’s The Marble Faun.