It looks like today is your lucky day. This piece from The Literary Hub gives you two for the price of one: first, there’s Herta Muller’s gorgeous take on the poetry of Liu Xia, and next, a careful selection of those very same poems.
This summer Antosha Chekhonte’s (aka Anton Chekhov‘s) first book The Prank will finally be published after more than 130 years of waiting, and it’s been described as “frankly indispensable for readers of Chekhov, or Russian literature, or comedic literature, or parody, or any and all literature” generally. Pair with our own Sonya Chung‘s essay, “I Heart Chekhov.”
In the latest entry in By Heart, which I’ve written about before, Thirty Girls author Susan Minot explains why she prefers to read multiple books at once instead of reading through single books from start to finish. Her reasoning? Books are “worlds to dip in and out of, and my relationship to them is continually deepening and evolving.”
The Telegraph links all their reviews of Booker longlist titles from one page. If you want to get a look at these literary hotshots, there’s a photo gallery, too.Ed has read Chuck Klosterman, and he’s not very happy about it.The First Post, a new British online magazine leads with John Irving’s book reviewer-bashing.
In 2013, only 93 of 3,200 children’s books were about black characters, according to a new study. “Children of color remain outside the boundaries of imagination,” Christopher Myers writes about the absence. In a follow-up piece, his father and fellow author Walter Dean Myers examines the paralyzing effect under-representation can have on readers. “Books did not become my enemies. They were more like friends with whom I no longer felt comfortable. I stopped reading,” he writes.
Jonathan Franzen’s 2011 Kenyon commencement speech, published this weekend in the New York Times, covers love, consumerism, and narcissism in the digital age. If you’re concerned with critical reception, looks like you’re not a creator of “serious art and literature,” in Franzen’s eyes.
Jonathan Franzen’s Kraus Project should be “a match made in heaven,” writes Jacob Mikanowski, because of how it pairs together “the old hater [Karl Kraus] and the new [Franzen], the Butch Cassidy and Sundance Kid of cultural criticism drawn together across the gulf of a century to take on all comers.” Alas, the end result is instead a “strange and rather discordant experience, like receiving a deep tissue massage while being spat on from a great height.” (Bonus: One of the best London Review of Books openers of all time.)