Paris Review editor Lorin Stein sat down alongside James Salter, Mona Simpson, and John Jeremiah Sullivan to discuss the magazine’s sixtieth anniversary with Charlie Rose. At one point Stein admits that, “If you wrote about sex the way Jim [Salter] writes about sex … in nonfiction, you would be a sociopath.” (Bonus: Stein writes about John O’Hara for The New Yorker.)
Conversational Reading covers “Four Greek Writers That You Should (and Can) Read.”Wells Tower interviewed on The Dinner Party Download.Anne Trubek at Good Magazine recommends our site to “Post-Collegiate Literary Types”The Elegant Variation gets a new reader. Congratulations, Mark!Make of this what you will: “Popular Japanese horror writer Koji Suzuki will publish a short novel called Drop on rolls of toilet paper.”Wikipedia Find of the Week I: Criticism of Wikipedia (so meta)Wikipedia Find of the Week II: No one cares about your garage band (so snarky)”Updike’s Sunset:” Kakutani takes on two newly published Updike collections, My Father’s Tears and Other Stories and Endpoint and Other Poems.Further Reading: Consider revisiting our guest post from last week, Finding Indie Opportunity on The Kindle, where a very interesting discussion developed in the comments.
This week in the New Yorker Jane Hu analyzes the “dispassionate first-person narrators” prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. “Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian.”
“The notebook is where our interior world makes contact with our exterior world; where our instinct for creation is first made material. Our notebooks are our first messy attempts at self-expression, and the ways in which we express ourselves are changing every day.” Sarah Gerard explores the life of the notebook in an essay for Hazlitt. Pair with our own Hannah Gersen‘s look at other methods writers use to keep their ideas straight, from calendars to collages.