“Paris had more sex than most church-laden places, and more church than most sex-laden places.” Luc Sante’s new book, The Other Paris, seeks to uncover Paris’s sedimentary layers of filth and grit. Here he is in an interview with Guernica Magazine.
The Other Side
Mary Ruefle Reads Her Work
Listen to Mary Ruefle read two of her poems over at The Poetry Foundation: “White Buttons” and “Shalimar.”
End of an Era
The final installment of Elena Ferrante’s Neapolitan Novels, The Story of the Lost Child, hits shelves next week. Emma Adler at Electric Literature has compiled a helpful Ferrante Study Guide if you’re feeling a bit lost. Cora Currier’s Millions essay on “reading Italy” through Elena Ferrante’s body of work is an ideal complementary read.
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Tuesday New Release Day: Johnson; Ford; Millet; Hunter; Kadare; Jin; Rash; Self
Out this week: The Laughing Monsters by Denis Johnson; Let Me Be Frank With You by Richard Ford; Mermaids in Paradise by Lydia Millet; Ugly Girls by Lindsay Hunter; Twilight of the Eastern Gods by Ismail Kadare; A Map of Betrayal by Ha Jin; Something Rich and Strange by Ron Rash; and Shark by Will Self. For more on these and other new titles, check out our Great Second-half 2014 Book Preview.
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Forrest Gander’s Reading List
Recent Pulitzer Prize-winner Forrest Gander offers a curated poetry reading list that includes C.D. Wright and Arthur Sze.
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Trouble in Paradise?
Surprise: the HuffPo/AOL link-up is proving to be messy.
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Edan Lepucki’s Other People Pod
Our own Edan Lepucki sits down with Brad Listi for an Other People Podcast. If for nothing else, listen to them discuss Facebook addiction. Their discussion starts around the eleven minute mark. (P.S. you should also check out both Edan and Brad’s Year in Reading posts.)
Didion’s Perfect Synthesis
“Many writers write vexed introspection, or detail-oriented reporting, or counterintuitive cultural commentary, or lifestyle journalism. But so far only Didion has done all four in perfect synthesis, a prose that, at its best, can fire on every cylinder and work on multiple fields of the imagination at once.” In support of the Kickstarter project for the documentary on Joan Didion, We Tell Ourselves Stories in Order to Live, Nathan Heller looks back over Didion’s writing career, her “imaginatively seductive” nonfiction writing and her carefully constructed confessionalism in a piece for Vogue.