From the Beat poet to the particularly heroic couplet, here’s a handy illustration of poetic justice from Grant Snider over at The New York Times.
It’s a big week for fans of literary fiction, with new books by a pair of heavyweights: Generosity by Richard Powers and Her Fearful Symmetry by Audrey Niffenegger. There’s also a new (and massive) collection of stories from Lydia Davis. Nick Horby’s newest, Juliet, Naked is out. Finally, Bukowski fans may be pleased to find a new book of never-before-collected poems, and R. Crumb fans have no doubt been waiting for his Book of Genesis to hit shelves.
“Maybe in the future I’ll feel compelled to write that kind of specific and current book, but right now I feel that my strength as a fiction writer is my ability to take a step back. I prefer to create a more metaphorical story that people can apply to a variety of situations, personal and political.” Electric Literature interviews Kazuo Ishiguro about his most recent novel, The Buried Giant, which our own Lydia Kiesling reviewed here.
The political unrest in Moscow is significant and worth covering, but it’s important to verify the facts. Over the weekend, a picture of an enormous crowd went viral, and it was billed as an image of anti-Putin demonstrations. This is not true. The image is actually from a 1991 rally in which protesters called for Mikhail Gorbachev’s resignation. It even appears in this Atlantic article from December, 2011.
Tom Wolfe is back with his new novel Back to Blood (our review) and Jami Attenberg’s The Middlesteins is out. Lemony Snicket is kicking off a new series for kids, illustrated by artist Seth. Finally, do you want to know everything about everything? The Onion is looking out for you with its new Onion Book of Known Knowledge: A Definitive Encyclopaedia Of Existing Information.
Jonathan Franzen’s Kraus Project should be “a match made in heaven,” writes Jacob Mikanowski, because of how it pairs together “the old hater [Karl Kraus] and the new [Franzen], the Butch Cassidy and Sundance Kid of cultural criticism drawn together across the gulf of a century to take on all comers.” Alas, the end result is instead a “strange and rather discordant experience, like receiving a deep tissue massage while being spat on from a great height.” (Bonus: One of the best London Review of Books openers of all time.)