Over at Salon, Matt Zoller Seitz talks about his new book Mad Men Carousel and why audiences felt such a profound attachment to the protagonists. Despite their flaws, Seitz argues that it is the consistency in their behavior that endeared us to characters like Don and Betty, literal misfits though they were. Still having trouble admitting the show is over? This may help.
Over at The Paris Review, Hannah Tennant-Moore defends the merits of disturbing literature. We are fascinated with the disturbing, because, as Tennant-Moore asserts, “wonder, disgust: both feelings are true.” Here’s a bonus piece on A.M. Homes‘ darkly comic May We Be Forgiven and on comforting the disturbed — or is it disturbing the comforted?
In the beginning, God died, and it was bad. Then the pun died too, and despair came over the people.
“The eradication of Terry Pratchett’s unfinished works, the zeros and ones of his hard drive ground into the earth at the Great Dorset Steam Fair, is an imaginative exception to the rule.” The Paris Review questions how we publish an authors posthumous works and whether there’s a better way to do so. Pair with: our 2017 Select Literary Obituaries.