“On the level of narrative possibility, I was really drawn to the sense of aloneness that rose from so many of these images—the terrifying possibility of being the last person left on earth, or even the last person left in a neighborhood, a swamp, a freeway. That stark haunting irony of living in a world of excess that has eventually collapsed on itself, emptied out.” Guernica interviews Leslie Jamison and Ryan Spencer for their new collaboration, Such Mean Estate.
“I started zoning out a little. My eyes drifted over toward my cat. Mr. Patterson pulled me right back in by saying, ‘Once you have the outline, start writing dude, you’re ready.’ It was that dude that woke me.” At The Awl, Patrick Hoffman reviews James Patterson’s MasterClass on writing. Pair with Bill Morris's account of losing his Pattersonian virginity at 32,000 feet.
A new collection of non-fiction by Jonathan Franzen, Farther Away: Essays, is out today. Also out is Laurent Binet's HHhH, from which we recently published some redacted scenes. Other new releases this week include Rosecrans Baldwin's memoir Paris, I Love You but You're Bringing Me Down and Nobel laureate Herta Müller's The Hunger Angel.
The number of options presented to people dating today can be overwhelming and sometimes weird. Alexandra Kleeman’s debut novel You Too Can Have a Body Like Mine touches on this subject, posing “questions about wanting and having and bodies and food and sex that often arise in discussions about how people date today.” Natasha Lewis reviews the book in The New Republic.
In case you missed it, this past weekend The New York Review of Books likely outed the author who's been writing under the nom de plume of Elena Ferrante. Condemnation was fast and furious, including pieces by n+1 and this fantastic Twitter thread by critic Lili Loofbourow. We join the chorus of voices who would rather direct the attention back to Ferrante's work. Might we suggest starting with this piece about The Neapolitan Quartet's subversive power?