Will anyone read Chuck Klosterman in a hundred years? Jonathan Russell Clark explores the possibility over at The Literary Hub: “What fate awaits the author of books so rooted in a given era? Can the accomplishment of capturing now remain significant or noteworthy forever? Will anyone read Klosterman in the future? And if they do, how will they read him?” In the mood for more JRC? How about his essay on the art of the first sentence?
Jessica Love writes for The American Scholar about some recent psychological studies on the art and perspective of storytelling. Of particular interest is the way “the first person does seem to encourage us to identify with the narrator, especially when that narrator is a lot like us.” Not that identifying with narrators is the primary purpose of reading, as the New Yorker reminds us in a piece against “relatability,” but it’s something to consider the next time you pick up a novel and find a character who seems to be just like you.
Jane Campion‘s Bright Star was released in theaters today. Read the New York Times‘ favorable review and watch a clip of Campion’s take on the romance between Romantic poet John Keats (Ben Whishaw) and Fanny Brawne (Abbie Cornish). According to papers on both coasts, it is Cornish who shines brightest: the NYT applauds her “mesmerizing vitality and heart-stopping grace.” You may recognize Whishaw as the demented/gifted perfumier Jean-Baptiste Grenouille from Tom Tykwer‘s adaptation of Patrick Suskind‘s 2001 novel Perfume: The Story of a Murder.
Are people losing interest in fiction that “offers more questions than answers?” In her book Thirteen Ways of Looking at the Novel, Jane Smiley suggested that modern readers have little taste for uncertainty. At The Rumpus, Rob Roberge asks how much this contributes to popular disinterest in literature.