New this week: Our Souls at Night by Kent Haruf; Loving Day by Mat Johnson; The Water Knife by Paolo Bacigalupi; The Rocks by Peter Nichols; and The Shore by Sara Taylor. For more on these and other new titles, check out our Great 2015 Book Preview.
“Historians, I believe, are dedicated to fighting against the tide of our social amnesia. The reason they continue to write books about the Holocaust, or Appomatox, or the earthquake in Haiti, is to try to help us remember the suffering and the extent of the damage. Some try to humanize, and others turn to abstraction.” Stewart L. Sinclair writes on burying the remnants of disaster, over at Guernica. Pair with his Millions essay on technology and Apple’s operating systems.
Before his death of natural causes in 2008, Henry Gustave Molaison had the world’s most famous brain. At 27, Molaison permanently lost the ability to form new memories, which led to him spending the rest of his life in “thirty-second loops of awareness.” In the LRB, Mike Jay reviews a new book on Molaison, Permanent Present Tense.
Writing for Airship Daily, Freddie Moore provides an overview of ten of her favorite unpublished J. D. Salinger stories. She also shares instructions on how to find – while being careful not to link directly toward – a “207-page trove of 22 out-of-print pieces available online.” This is for the best, considering the relationship between the Catcher in the Rye author, his unpublished works, and U.S. copyright.
One consequence of creating a beloved show is that you've got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I'm not saying he can't be chagrined by Grantland or Vulture's recent TV brackets (which Simon singled out in subsequent remarks), but when he says he's "it's wearying" for people "to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time," it's a bit harder to take his side, and you feel like he hasn't watched Erlend Lavik's sophisticated and thorough video essay about The Wire's visual style. Surely analyses like this (or Žižek's, which we've mentioned before) deserve due credit.
Over at Buzzfeed, Rachel Kaadzi Ghansah travels to James Baldwin's home in Saint-Paul-de-Vence, France, and explores his life as an expat. She writes, “Baldwin left the States for the primary reason that all emigrants do — because anywhere seems better than home.” Pair with Justin Campbell Millions essay on Baldwin and fatherhood.