Most of our discussions about changing the canon revolve around adding onetime marginalized writers. But there’s a flipside to this — who do we need to eject? In a Bookends column for the Times, James Parker and Francine Prose pick greats that are no longer great.
New this week is Julian Barnes’ new collection of stories, Pulse. We also have new novels from Geraldine Brooks (Caleb’s Crossing) and Jean Thompson (The Day We Left Home). There’s also a new collection available from Nobel laureate J.M.G. Le Clezio (Mondo and Other Stories). And new in paperback: Millions Hall of Famer Super Sad True Love Story by Gary Shteyngart and The Pregnant Widow by Martin Amis.
Dwight Garner, writing in the current issue of The New York Times Magazine, laments that so many high-end American novelists seem to be working on “the nine-year plan,” delivering a new novel roughly once a decade. He cites Jeffrey Eugenides, who will be out soon with The Marriage Plot, his third novel in 18 years, along with such slow cookers as Jonathan Franzen, Donna Tartt and Michael Chabon. One name Garner neglected to mention is the Pulitzer Prize-winner William Kennedy, who will be out next month with Chango’s Beads and Two-Tone Shoes, the eighth installment in his Albany cycle and his first novel since Roscoe appeared nine years and nine months ago. Look for our review of it here next month.
“I can still remember with complete clarity the way I felt when whatever it was came fluttering down into my hands that day 30 years ago on the grass behind the outfield fence at Jingu Stadium; and I recall just as clearly the warmth of the wounded pigeon I picked up in those same hands that spring afternoon a year later, near Sendagaya Elementary School. I always call up those sensations whenever I think about what it means to write a novel.” Haruki Murakami on “The Moment [He] Became a Novelist,” excerpted on Lit Hub from the new double edition of his first novels, Wind/Pinball.