Nobody likes to be critiqued. Lucas Gardener at The New Yorker would really like to assure all of his concerned Creative Writing workshop classmates that his most recent submission, “Creative Writing Beatdown,” is entirely fictional and has no basis in reality. Really.
If you live in London, and you like the idea of a play in which “two women [try] to put on a one-woman play about Frida Kahlo in whom neither of them is really interested,” you should stop by the Bridge House Theatre, which is playing Chris Larner’s The Frida Kahlo of Penge West until November 23rd. At the LRB blog, Rosemary Hill provides a brief review.
Anya Ulinich, author of Petropolis, talks to World Literature Today: “What else can a person do when she gets home after a ten-hour work day – with a toothache that she can’t afford to fix . . . – but fall on the couch and watch whatever is in front of her face?” . . . Lydia Davis, whose Collected Stories is just out, talks to Sarah Manguso for The Believer: “At the origin of the work there has to be strong feeling, if it’s going to be any good. Of course, that strong feeling can be a delight in language.” . . . The Book Bench unearths a 1978 John Updike interview with a Croation periodical, which finds the Rabbit Angstrom author halfway through his tetralogy. . . . Edwin Frank of NYRB Classics talks to Omnivoracious, and selects his favorite books in the series (via). . . . And James Ellroy submits to interrogation at The Paris Review: “I was always thinking about how I would become a great novelist.”
“Hoaxers make it seem like things are as bad as we fear they are, and they often, especially now, play on our fears rather than our wishes.” The Rumpus interviewed New Yorker Poetry Editor Kevin Young about the inspiration behind his new book, Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News. Pair with Young’s Year in Reading entry and our review of Bunk.
“Embracing the transients and flâneurs, this is, in effect, a museum of Russian literature. And, being Russian, it becomes a museum of censorship and repression as well as art: of genius and bravery, blood and lies.” Snowdrops author A.D. Miller visits Ukraine’s Odessa State Literary Museum.