Granta has published translated writing from Nobel Prize winner Svetlana Alexievich. She writes: “In 1986 I had decided not to write about war again. For a long time after I finished my book War’s Unwomanly Face I couldn’t bear to see a child with a bleeding nose. I suppose each of us has a measure of protection against pain; mine had been exhausted. Two events changed my mind.” Find out more about Alexievich here.
Boys in Zinc
Spotlight on Matt Dojny
Year In Reading contributor Matt Dojny has his comics work highlighted by the good folks at The Rumpus.
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Tuesday New Release Day
Laura Miller of Salon recommends Tana French’s new crime-fiction novel Faithful Place: “makes Philip Marlowe’s L.A. look like a church picnic. French herself doesn’t play by the rules…” Also out recently is a new edition of James Salter’s short story collection Dusk and Other Stories, with a new introduction by former Paris Review editor Philip Gourevitch.
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Born Weird
Meet the man who calls his own fans “scum,” R. Crumb. Crumb first rose to prominence after the 1968 debut of Zap Comix, the first of the majorly successful “underground comix” publications. His work with legendary poet Charles Bukowski is worth taking a look.
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Bathtub Books
“At home, I dedicate occasional whole days to reading as if I’m a convalescent. The ideal place for this is the bath, where the body floats free,” Rachel Kushner told The New York Times in a “By the Book” interview. Yet just because her reading style is leisurely doesn’t mean her reading is; she discusses her love of Proust and avoidance of books known for their plots. For more Kushner, read our own interview with her or her 2013 Year in Reading post.
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Jacobs’s Centennial
Yesterday, Jane Jacobs, author of The Death and Life of Great American Cities, would have turned 100. Some used the anniversary to commemorate her life and others argued that we need to stop deifying her.
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Like a Child
‘The 4½-foot tall poststructuralist philosopher I live with demonstrates a radical mode of viewership daily. Because of her, and with her, I am able—by moments—to move out of my own natural larval state and experience movies not just as deliverers of entertainment, conveyors of meaning, or objects of aesthetic contemplation, but as pure fields of emotional and sensory intensity, almost like rooms to which one can return.” Dana Stevens on watching movies with, and like, a child.
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