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 an article for Vanity Fair, Meredith Turtis argues that “perhaps fiction… can change the place women have in history,” by giving forgotten figures new lives as characters with fascinating stories to tell. She cites Paula McClain‘s just-released Circling the Sun, about a trailblazing female aviator, and Megan Mayhew Bergman‘s Almost Famous Women, which could have been included based on the title alone. Her argument pairs well with our own Hannah Gersen‘s review of Jami Attenberg‘s Saint Mazie, a novel that fictionalizes the life and voice of a very real “Bowery celebrity.”
This fantastic essay from The Rumpus argues for the abandonment of realism in American fiction. Charles Finch wrote an essay for The Millions on the truce between realism and fabulism in Gabriel Garcia Marquez’s One Hundred Years of Solitude that pairs quite nicely.
“Her only ‘crime’ has been that she has used her ‘freedom of speech’ to attract attention to injustice, because her conscience will not allow her to remain silent.” A campaign calls for the release of Aslı Erdoğan, an acclaimed Turkish novelist currently being held by her government on nebulous charges. Also did you know: our own editor-in-chief, Lydia Kiesling, speaks Turkish?