“Contemporary criticism is positively crowded with first-person pronouns, micro-doses of memoir, brief hits of biography. Critics don’t simply wrestle with their assigned cultural object; they wrestle with themselves, as well. Recent examples suggest a spectrum, from reviews that harmlessly kick off with a personal anecdote, to hybrid pieces that blend literary criticism and longform memoir.” On why critics get personal in their essays.
“Freedom is not freedom from connection. Serial killing is freedom from connection. Certain large investment firms have established freedom from connection. But we as people never do, and we’re not supposed to, and we shouldn’t want to. We are individuals, obviously, but we are more than that.” Joss Whedon speaks to Wesleyan’s graduating class.
“His writings rarely make it to the US, and are resolutely for an Indian readership. They will win no prizes nor inspire dissertations. But for these reasons they represent the actuality of what many people in the world are reading today, outside of the newly sanctified category of the ‘global novel.’” Ulka Anjaria for Public Books on Chetan Bhagat, “possibly the most successful Indian English novelist ever” and largely unheard of in the west. For more fictional Desi perspectives, read Aditya Desai in our own pages on reading narratives of Indian women.
What’s the best part of writing for Sue Monk Kidd? The solitude. What’s the hardest part for her? The solitude. Kidd acknowledged the challenges of writing in a “By the Book” interview with The New York Times. “For me, writing a novel goes on for years, and the solitude goes on, too. It tends to swallow me at times. I know it’s a problem when my husband sends the dog in to retrieve me.” Her latest novel, The Invention of Wings, came out on Tuesday and was part of our 2014 book preview.