Apocalyptic literature is nothing new, but it may, according to Grayson Clary, be entering a new era. In Bookforum, he argues that Benjamin Percy’s The Dead Lands ushers the genre into its mannerist phase. Sample quote: “The Dead Lands is really the stripped, buffed skeleton of a road story, set up to show off—attractively—an enormous quantity of decorating tropes.” You could also read our interview with Percy.
“War happens when words no longer work. Yet war is declared at the very point when words are at their most powerful. It’s an odd kind of paradox. In a time of war, the familiar words of your own language can become even more significant, as language is linked to the idea of home.” At JSTOR Daily, linguist Chi Luu looks at trauma and language loss.
Looking for a New England writer’s retreat? Perhaps you could stay in T. S. Eliot‘s childhood summer home.
Julie Delphy‘s second film as writer/director/actress is released in Europe this month. The subject is 16th century Hungarian/Transylvanian countess Erzsébet Bàthory, known for murdering young girls to bathe in their blood and considered by some the first female serial killer. Judging from the trailer, Delphy’s film doesn’t appear to equal earlier visions of the Bloody Countess (French Surrealist Valentine Penrose‘s hallucinatory biography, for example, or Terry Gilliam‘s Mirror Queen (Monica Bellucci) in The Brothers Grimm).