“The last line of Saul Bellow’s ‘A Single Dish’ is nothing like poetry. I can’t tell you what any single one of those words means. Imagine you’re a lexicographer and you have to define the word that, or how. And on top of this, there’s none of Bellow’s typical play with rhythm and language—it’s almost a non-sentence. And yet, when I get to it in the story, I weep.” Ethan Canin at The Atlantic on how Saul Bellow packs so much emotion into a single sentence. Here are a couple Bellow-related Millions links for your perusing pleasure.
That Was How He Was
Lethem on Dyer
Jonathan Lethem‘s profile of Geoff Dyer for BOMB Magazine is available online for a limited time only.
Children Coming Together
Lynda Barry illustrates Carrie (of horror fame) and Heidi (of childhood book fame) meeting for the first time.
Tilting Druglords
Look, it’s hard being the bloodthirsty kingpin of a multinational drug smuggling cartel. Apparently Joaquín “El Chapo” Guzmán has been feeling a bit sorry for himself post-capture, so what did Eduardo Guerrero, head of Mexico’s prison systems, think would cheer him up? He brought him a copy of Don Quixote.
Press Start
Readers of the 1960s and 70s ran into many people who worried that writers were learning from television. In 2015, the concern is slightly different — are writers taking cues from video games? At the Ploughshares blog, Matthew Burnside tackles the game-ification of books.
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Michiko Kakutani on Jonathan Franzen’s “Freedom”
At The New York Times, Michiko Kakutani gets in an early review of Jonathan Franzen’s Freedom, heralding it “his most deeply felt novel yet.”
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“And gladly wolde he lerne, and gladly tweet.”
Henry Eliot, playing the Host, led an expedition of 24 pilgrims on a modern-day, multimedia reenactment of Geoffrey Chaucer’s The Canterbury Tales. You can check out their recap complete with pictures, audio, and video over at The Guardian.