“Notice how Malbecco, as Gelosy, lives outside of time, a death-in-life: he can ‘never dye, but dying lives.’ In other words, embrace a quality entirely—even, I would argue, a less pejorative quality, like hustle—and it overmasters you. You’re doomed.” Rowan Ricardo Phillips, basketball columnist for The Paris Review, on Edmund Spenser, hustle, and the New York Knicks.
Many aspiring writers wind up in publishing jobs or teaching posts. Some view the career choice as a happy union between their creative interests and their vocational qualifications. T. S. Eliot was not so. In an article for The Rumpus, Lisa Levy notes that the poet continued “to work at the bank even after his poems [became] successful,” and that the poet found the work “more conducive to writing poetry and criticism than taking a more literary job might be.”
“I wanted to be really careful about not pretending to write The Transracial Adoptee’s Experience, because (1) there is no such thing, it’s going to be different for everyone, and (2) I feel strongly that those stories should be told by the adoptees themselves, if they choose to share them,” Year in Reading alum Celeste Ng, author of Little Fires Everywhere, in conversation with Nicole Chung.
We thought we had a better chance of seeing Odin than Neil Gaiman’s American Gods on TV, but after the HBO deal fell through, the novel is finally being adapted for the small screen by FremantleMedia. Bonus: Gaiman’s Anansi Boys is also being adapted into a BBC miniseries by RED. To brush up on Gaiman’s interest in mythology, read our review of The Ocean at the End of the Lane.
New this week: A Hundred Thousand Words by Bob Proehl; Missing, Presumed by Susie Steiner; The Sun in Your Eyes by Deborah Shapiro; The Bones of Grace by Tahmima Anam; The Swan Book by Alexis Wright; The Life of the World to Come by Dan Cluchey; and Mortal Trash by Kim Addonizio. For more on these and other new titles, go read our Great 2016 Book Preview.
“By now, you are probably asking yourself, Did these two ever talk about anything serious? Of course, we did. We talked about how writing a poem is no different from taking out a frying pan and concocting a dish out of the ingredients available in the house, how in poetry, as in cooking, it’s all a matter of subtle little touches that come from long experience or are the result of sudden inspiration.” Charles Simic writes movingly about his friend, the late poet Mark Strand, and their various schemes, from buying palazzos to founding a gastronomic poetry movement, for The New York Review of Books.