For those of us on the east coast, this reimagining of Cormac McCarthy’s The Road as The Road (Has Not Been Plowed In Thirty-Two Hours) should really hit home this morning. Bonus: The Road also made our own “Best of The Millennium” list.
Deb Olin Unferth’s memoir Revolution: The Year I Fell in Love and Went to Join the War hits shelves today. To celebrate the genre, she’s curated a special section in this month’s Guernica, with selections by Joshua Cohen and Rozalia Jovanovic, and forthcoming pieces by Porochista Khakpour and Clancy Martin.
Out this week: Home Fire by Kamila Shamsie; The Future Won’t Be Long by Jarett Kobek; How to Behave in a Crowd by Camille Bordas; The World Broke in Two by Bill Goldstein; A Kind of Freedom by Margaret Wilkerson Sexton; Things That Happened Before the Earthquake by Chiara Barzini; and The Mountain by Paul Yoon. For more on these and other new titles, go read our most recent book preview.
Out this week: Between Them by Richard Ford; No One Can Pronounce My Name by Rakesh Satyal; The Leavers by Lisa Ko; The Dinner Party by Joshua Ferris; My Life with Bob by Pamela Paul; One Day We’ll All Be Dead and None of This Will Matter by Scaachi Koul; Season of Crimson Blossoms by Abubakar Adam Ibrahim; Homing Instincts by Sarah Menkedick; and a new edition of Chinua Achebe’s African Trilogy. For more on these and other new titles, go read our most recent book preview.
On bad days, when his writer’s block was at its worst, Hart Crane wrote bizarre, feverish prose poetry as a way of juicing his creative synapses. Understandably, he never published this poetry, but now, thanks to the Harry Ransom Center, we can read it in its original form. Sample quote: “I held the crupper by a lasso conscripted from white mice tails spliced to the fore-top gallant.”
“America has always been able to countenance beggars, short-con men, and nine-to-fivers who just can’t get ahead, but we’ve never known what to do with the type of person who could have been really big but chose not to make the concessions required.” The Believer takes a look at the paradox of Nelson Algren.