“I thought there were would be more in this writing life, an easier path to walk. I write those words and know they are the unwise thoughts of my younger self and that I am still too stubborn to give up on my dreams. When Annie Dillard invited me outside for that smoke, she knew very well what it would mean to a young writer like me. She intuited my ambitions and it was her way of encouraging me.” This essay is ostensibly about smoking cigarettes and playing catch with Annie Dillard, but it’s also about the incredibly important role that an established writer can play in helping a struggling up-and-comer.
A surreal theater production of Haruki Murakami’s Kafka on the Shore, directed by Yukio Ninagawa, premiered at the Lincoln Center Festival in July. Ian Buruma writes for the NYRB about the marriage of tradition and modernity, and Western and Eastern references in the play. As he puts it, “even without traditional references, the production—perhaps more than Murakami’s novel—is still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at. The setting jumps at lightning speed from a bus station, to a library, to a sleazy bar area. Various characters emerge and disappear, like memories or scenes from a dream, in an assortment of moving transparent boxes.”
“I’ve always referred to it as a troubled project in the sense that I’m trying to tell stories about people who not are here in a way to tell their own stories. I’m trying to speak about an environment I knew well, but I’m aware that I’m dealing with very dark material. I’m pointing out the irony of what we would wish for ourselves and what actually ends up happening.” Teju Cole on tweeting American drone strikes.