Haruo Shirane writes for Public Books about writing and publishing in the age of English. As he explains it, “For those living in the Anglosphere, no barrier seems to stand between their world and the many other worlds that now appear at the push of a button. But for those outside that world, particularly in non-European countries, the literary and linguistic consequences of globalization in the age of English can often be severe.”
YiR alum Roxane Gay and Medium have collaborated on a magazine that will feature pieces throughout the month from 24 different writers. The writers all address the question “what does it mean to live in an unruly body?” and they range from Kiese Laymon to Keah Brown to Randa Jarrar.
In 2003, Mary Roach kicked off her book-publishing career with Stiff, a look into the lifespans (pun intended) of cadavers and the ethics of using them for study. At Lapham’s Quarterly, you’ll find the 2001 magazine article that Roach later expanded into Stiff. (Related: we interviewed Roach back in April.)
Today sees the arrival of a unique title from the Center for the Art of Translation. Wherever I Lie Is Your Bed provides translated poetry and fiction from 30 writers and is meant to introduce English-speaking readers to writers whose work would otherwise be difficult or impossible to find in English. Elsewhere, the biggest literary release of the week is Vladimir Nabokov’s The Original of Laura, which has caused no small amount of consternation among critics, and Alice Munro’s latest collection, Too Much Happiness, which can be expected to be more warmly received. On the non-fiction side, a new collection of Zadie Smith essays came out last week.
In the current Broadway production of Twelfth Night, Mark Rylance plays Olivia, a role which sees him plaster his face in white makeup and style his hair into a “pouf like a charcoal brioche.” Rylance, the first artistic director of the Globe Theatre in London, projects such a palpable “air of distracted grief” in his performance that “the carapace of theatricality evaporates,” Charles Isherwood writes. The Times theater critic also highlights the work of John Douglas Thompson and Harriet Walter.
“That no-way-out is really the difference between boys and girls in working-class culture, because a working-class boy could run, or could when I was growing up.” Guernica interviews Dorothy Allison about literature as glory; survival, opportunity, and gender; and working-class heroes vs. heroines. For your reading consideration: Bill Morris‘s essay on the riches of “white trash” literature.
You may have read our review of Kazuo Ishiguro’s new novel The Buried Giant. You may also have read our own Mark O’Connell’s review at Slate. For another opinion, you could read James Wood, who writes about Ishiguro’s “prose of provoking equilibrium” in the latest New Yorker.