“I’ve always loved memoir, but it’s still seen as such a trashy genre and I wanted to speak to it as actual literature because that’s how it feels to me.” Mary Karr sits down with The Rumpus to discuss The Art of Memoir. We recently posted an excerpt from and a review of the book.
On George Kimball and “the two-fisted, one-eyed misadventures of sportswriting’s last badass.”
“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.
New this week: The Year of the Runaways by Sunjeev Sahota; The Little Red Chairs by Edna O’Brien; Chicago by Brian Doyle; The Destroyer in the Glass by Noah Warren; Dothead by Amit Majmudar; Grateful Dead’s Workingman’s Dead by Millions contributor Buzz Poole; and New and Collected Poems: 1975-2015 by Jay Parini. For more on these and other new titles, go read our Great 2016 Book Preview.
Out this week: Barkskins by Annie Proulx; Sons and Daughters of Ease and Plenty by Ramona Ausubel; I’m Just a Person by Tig Notaro; The Course of Love by Alain de Botton; and The Girls by Emma Cline (which we reviewed). For more on these and other new titles, go read our Great 2016 Book Preview.
In Wayde Compton’s The Outer Harbour, a series of short stories take the reader from the present day to 2025, exploring a near-future Vancouver in which things grow steadily more surreal. As Emily Oppenheimer writes, it’s clearly a work of speculative fiction, yet the setting resembles our own world in uncanny ways. Sample quote: “Compton achieves the more troubling, yet ultimately more satisfying, goal of portraying the fantastical as something that is very much rooted in what we think we already know about ourselves and our world.”