A surreal theater production of Haruki Murakami’s Kafka on the Shore, directed by Yukio Ninagawa, premiered at the Lincoln Center Festival in July. Ian Buruma writes for the NYRB about the marriage of tradition and modernity, and Western and Eastern references in the play. As he puts it, “even without traditional references, the production—perhaps more than Murakami’s novel—is still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at. The setting jumps at lightning speed from a bus station, to a library, to a sleazy bar area. Various characters emerge and disappear, like memories or scenes from a dream, in an assortment of moving transparent boxes.”
Thomas Pynchon defined what he termed “vintage Barthelmismo” as “fictions thoughtfully concocted and comfortably beyond the reach of time.” This moving tribute to Donald Barthelme by Padgett Powell from the forthcoming anthology, A Manner of Being: Writers on Their Mentors, is right in line with Pynchon’s sentiment. Here’s another Barthelme mention from The Millions that you may be interested in.
Ladette Randolph began the Writers and their Pets series on the Ploughshares blog in large part to celebrate her beloved dog Sally. It didn’t take long, however, for the series to expand, which eventually led to this week’s entry about Nina Mukerjee Furstenau’s pet elk.
“James Schiff, an associate professor of English at the University of Cincinnati, is working on a volume of Updike’s letters and has unearthed thousands of letters, postcards, and notes the author sent to complete strangers who wrote to him.” The Guardian writes about an in-progress book of John Updike‘s letters that reveals how often the writer corresponded with not only his contemporaries, like John Barth and Joyce Carol Oates, but his readers as well. See also: an essay about the personal and literary relationship between Barth and Updike.