Recommended (Heartbreaking) Reading: On a father’s suicide and a son’s journey to learn a bit about the life of the man he hardly even knew.
As John Steinbeck’s classic Travels With Charley nears the half-century mark, a writer has retraced the author’s cross-country journey and come to the conclusion that the resulting book was full of inaccuracies and outright fabrications. The journalist Bill Steigerwald, whose article appears in the current issue of the libertarian quarterly Reason, says he didn’t set out to trash the Nobel laureate. “As a libertarian, I kind of liked the old guy,” Steigerwald tells the New York Times. “He liked guns; he liked property rights.”
Articles lamenting the supposed death of reading tend to include a gripe that we now spend too much time on the Internet. However, as those of you who read a lot of books and live partially on the Internet are aware, the two activities aren’t mutually exclusive. NPR’s Morning Edition has a new story (which includes our own Janet Potter discussing her rewriting of classic novel titles as click-bait headlines) about the intersection between the lit world and the meme world.
You may have read Darcey Steinke’s Year in Reading piece, or perhaps one of her articles here at The Millions. Or else you might have read — or at least heard about — her recent novel, Sister Golden Hair. Either way, you should read this interview at The Rumpus, in which she talks about Virginia, femininity and books that have too much plot.
While researching In Cold Blood, Truman Capote took pains to get the story right, so much so that the final product was, he claimed, “immacutely factual.” The tale of his labors is so well-known that Bennett Miller used it as the basis of his movie Capote. So when allegations surface that the author made deliberate errors, the story gets a little bit… awkward.
“This question of presence seems crucial to Tillman’s project. Her position in a text is tricky—she operates both inside and outside of it, which allows her to thwart distanced critical authority and also perform the aesthetic slippages she admires in others’ work.” On Lynne Tillman’s new story collection.