Has Joan Didion become “the Ultimate Literary Celebrity“? In an article for the New Republic Laura Marsh says “yes,” and then explains how that happened. Marsh’s efforts pair well with Franklin Strong‘s recent Millions essay on “The Manliness of Joan Didion,” Joan Didion being a literary figure who easily adapts to any description.
“The last line of Saul Bellow’s ‘A Single Dish’ is nothing like poetry. I can’t tell you what any single one of those words means. Imagine you’re a lexicographer and you have to define the word that, or how. And on top of this, there’s none of Bellow’s typical play with rhythm and language—it’s almost a non-sentence. And yet, when I get to it in the story, I weep.” Ethan Canin at The Atlantic on how Saul Bellow packs so much emotion into a single sentence. Here are a couple Bellow-related Millions links for your perusing pleasure.
At N+1, Marco Roth autopsies “the neuronovel” – think Motherless Brooklyn (Tourette’s), The Curious Incident of the Dog in the Night-Time (autism), Lowboy (paranoid schizophrenia), The Echo Maker (Capgras syndrome), and Atmospheric Disturbances (Capgras again?) – and finds “sign[s] of the novel’s diminishing purview.”