Elena Ferrante’s introduction to the Folio edition of Sense and Sensibility is available at The Guardian. She describes the experience of reading Jane Austen as a girl. “At the time, I was enthralled by the great male adventure novels, with their stories that ranged all over the world, and I wanted to write such books myself: I couldn’t resign myself to the idea that women’s novels were domestic tales of love and marriage. I was past 20 when I returned to Austen. And from that moment not only did I love everything she had written but I was passionate about her anonymity.”
“Perhaps postcards best capture a nostalgia inherent to the passerby.” Our own Bruna Dantas Lobato writes about literary postcards and how we imbue images with our own meanings for Ploughshares. You could also read about images that inspire authors from another one of our staffers, Edan Lepucki.
It’s been a good year for Alfred Hitchcock, what with Vertigo beating out Citizen Kane in the once-a-decade Greatest Movie of All Time poll conducted by Sight and Sound. At Full-Stop, Rachel Baron Singer takes a look at Hitchcock and The Girl, both of which examine “the dark side” of Hitchcock’s genius.
” I love the shape of words, I love the comet-tail histories of words. I love the roll and crunch of syllables in my mouth.” In Electric Literature, Laura van den Berg interviews R.O. Kwon about religious fanaticism, “unknowing,” and her upcoming debut novel, The Incendiaries. Pair with: Kwon’s 2017 Year in Reading.
The Naipaul Question, as Morgan Meis calls it, is simple: is V.S. Naipaul too offensive to be taken seriously? His recent biography includes scenes of abuse and moments of straightforward racism. But Meis thinks the issue is more complicated than whether Naipaul is a monster — the author is, in his phrasing, too “protean” to be pinned down.