“Our children, at least in this country, with no tales of war to tell; only music and clothes. Infuriating and a blessing for our parents, who had experienced the abyss staring back at them. I suppose their memories must have hung around their necks like stinking albatrosses, only for their children to turn out themselves to be an abyss gazing back at the next generation. Is it catching? Whose 1950s was I living?” This installment of Jenny Diski’s memoir from the London Review of Books is not to be missed.
Stephen Moss caught up with AD Harvey, the “independent scholar” who tricked an entire discipline into believing Charles Dickens met Fyodor Dostoevsky. (If you missed Eric Naiman’s initial piece on Harvey’s trail of deception and trickery, you’d do well to acquaint yourself now.)
Out this week: Saint Mazie by Jami Attenberg; Muse by Jonathan Galassi; The Diver’s Clothes Lie Empty by Vendela Vida; Eight Hundred Grapes by Laura Dave; The Unfortunates by Sophie McManus; The Sunlit Night by Rebecca Dinerstein; A Head Full of Ghosts by Paul Tremblay; I’d Walk with My Friends If I Could Find Them by Jesse Goolsby; The Loved Ones by Mary-Beth Hughes; A History of Money by Alan Pauls; Land Where I Flee by Prajwal Parajuly; and Bitter Bronx by Jerome Charyn. For more on these and other new titles, check out our Great 2015 Book Preview.
“In the new environment, science fiction writers needed new formulas – or even better, needed to have the courage to operate without pre-cooked recipes of any sort. In short, science fiction needed to grow up and take on the adult world, in all its messiness and uncertainty.” Ted Gioia pens a paean to sci-fi writers of the 1960s. Among his recommendations (including a reading list of 64 works): Camp Concentration by Thomas M. Disch, whose larger oeuvre is considered here.
"In noir, the problem is not an individual: the problem is the world." Over at Electric Literature, Nicholas Seeley advocates for the efficacy of noir as a protest genre. Here's a piece from The Millions's Hannah Gersen that argues for Bartleby, The Scrivener as another surprising example of protest literature.
"[C]hildren often prefer the factual over the fantastical. And a growing body of work suggests that when it comes to storybooks, they also learn better from stories that are realistic. For example, preschool-aged children are more likely to learn new facts about animals when the animals are portrayed realistically as opposed to anthropomorphically." Two new studies suggest that where learning is concerned, realism trumps fantasy in children's books. Which is as good a time as any to ask our own Jacob Lambert's question: Are picture books leading our children astray?