Last week, I pointed readers to a speech by the late James Salter, reprinted by The Paris Review Daily in tribute to the writer after his death. For a fan appreciation, you can read Kevin Lincoln in Hazlitt, who leads his piece with the observation that Salter “wrote sentences you could unfold into paper lanterns.” Pair with our own Sonya Chung’s review of Salter’s All That Is.
The Size Queens re-conceptualize the album with their release of To The Country, a hybrid iBook/album whose “interpenetrations of song, text, and image” aim to generate new narrative forms. Band member/author Adam Klein writes: “We create these imagined worlds together, simultaneously uncontaminated and corrupted, through metaphor and code. ‘The country’ and the new world of applications are always polyvalent; it is impossible to make them remain at our service.” Also! This textual/aural collaboration features original stories by Lynne Tillman, Rick Moody, Maria Bustillos, and Joy Williams (first line reads: “Daddy didn’t want to be a social being and he didn’t want us to be social beings so here we are.“) Download To The Country here (it’s free!) and read/listen/weep.
“Dmitri Nabokov, the son of Vladimir Nabokov, who tended to the legacy of his father with the posthumous publication of a volume of personal letters, an unpublished novella and an unfinished novel that his father had demanded be burned, died on Wednesday in Vevey, Switzerland. He was 77.” At MetaFilter, the son daughter of the lawyer for Nabokov’s literary estate remembers Dmitri, who was also a family friend. Dmitri once made a very brief appearance here at The Millions, leaving a comment (which we were able to authenticate as being from Dmitri) on Kevin Frazier’s compelling defense of The Original of Laura.
The Economist digs into the stupid “debate” over Philip Roth’s International Booker win.
The Empathy Exams, a new collection of essays by Leslie Jamison, gets its title from a piece about medical acting that was published in The Believer. On the Harper’s blog, you can read an interview with Jamison, who calls her collection “a refusal to choose between these approaches — criticism, confession, journalism.” (Michelle Huneven interviewed Jamison for The Millions a couple of years ago.)