“It suddenly went off: ‘Oh, fuck, I’m going to try it as a novel, aren’t I?’ A terrifying realization because John Lennon is such an iconic figure—and the feeling I get out around there, this kind of eeriness, this kind of strange haunted reverberation. I mean, the fuckin’ Atlantic is a really weird thing to grow up right beside.” Millions staff writer Bill Morris sat down with Kevin Barry to talk about his new book, Beatlebone, and about the trouble of getting John Lennon’s voice right on the page. Morris has brought you a bit on Barry in the past.
Imagine All the Islands
Reconstruction
Recommended Reading: On lyric essays and trauma at Ploughshares. “I didn’t start writing lyric essays until I found out I had cancer. The melanoma buried in my right cheek was at first missed, and then misdiagnosed in its severity. Clark’s stage IV, they told me. Likely in my lymph nodes, but they wouldn’t know until my third surgery, the excision and biopsy.”
Talking with Michelle Orange
At The Nervous Breakdown, Brad Listi sits down with Michelle Orange, who talks about writing ledes, Pauline Kael, and the story behind her new book, This is Running For Your Life. (For more, go check out her interview with our own Hannah Gersen.)
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Sounds, Feelings, Thoughts
Recommended Reading: Clare Cavanagh on the experience of translating the work of Polish poet and Nobel Laureate Wisława Szymborska.
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“Our sturdiest atheists”
Recommended Reading: Millions contributor Michelle Huneven on Charles Baxter’s There’s Something I Want You to Do.
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In the Sleepy Fishing Village
Over at The New Yorker, Roa Lynn recalls going to Pablo Neruda’s home and getting him to write her a poem: “Would he read a few of the poems that I had brought with me? To my delight, he said that after lunch he would take his customary nap and after that he would read our poems. If he liked them, he would write something for our book.” Pair with this Millions essay about Neruda’s house in Isla Negra.
The Boundaries of Literature
“The label ‘Immigrant Fiction’ derives from the same problematic Pantheon in which ‘Women’s Literature,’ ‘Black Literature,’ and more, exist. Unlike the genre of, say, science fiction, which describes the content and style of the writing, categories like ‘immigrant’ or ‘Black’ fiction seem to be concerned more with the author’s identity and/or perceived audience.” On literary categories and immigrant fiction, over at Guernica.