Anya Ulinich, author of Petropolis, talks to World Literature Today: “What else can a person do when she gets home after a ten-hour work day – with a toothache that she can’t afford to fix . . . – but fall on the couch and watch whatever is in front of her face?” . . . Lydia Davis, whose Collected Stories is just out, talks to Sarah Manguso for The Believer: “At the origin of the work there has to be strong feeling, if it’s going to be any good. Of course, that strong feeling can be a delight in language.” . . . The Book Bench unearths a 1978 John Updike interview with a Croation periodical, which finds the Rabbit Angstrom author halfway through his tetralogy. . . . Edwin Frank of NYRB Classics talks to Omnivoracious, and selects his favorite books in the series (via). . . . And James Ellroy submits to interrogation at The Paris Review: “I was always thinking about how I would become a great novelist.”
This week in news that’s almost impossible to believe: after an intense bidding war, the rights to David Grann’s upcoming book Killers of the Flower Moon were bought by Imperative Entertainment for a whopping five million dollars. All this for a nonfiction book that isn’t due out for well over a year. Killers of the Flower Moon tells the story of the investigation into the mysterious deaths of several Osage Indians in the 1920s, who were at the time some of the wealthiest people in the world. The case was one of the first ever worked by the FBI.
Is that a severed prostitute’s nipple in my Mozart? At City Journal, Heather MacDonald mourns the rise of slick, irreverent productions of classical operas in Europe known as Regietheater (director’s theater), a theory of opera direction that holds the director’s take on an opera to be as (0r more) important than the artist’s text.