Is Karl Ove Kanusgaard’s seven-volume, 3,600-page, vaugely-autobiographical epic possible to pitch over the course of an elevator ride? The good people over at n+1 are willing to give it a shot! Have you ever wondered about the view outside of Knausgaard’s window? I bet you have now.
Just Give Me a Minute
More Authorial Car Crashes
“Camus, Car Crashes, Cinema,” a weird sequel to Bill Morris’ two lists of writers who met death by motor vehicle.
Lolita Covered
The contest to design a new cover for Lolita that we noted in August has named some winners.
Cheese!
“Should we understand a photographic document as being first and foremost an artifact of memory, a light-written ghost? Or is it more important to stress its status as a material thing created from pigment, silver, emulsion, paper, plastic, glass, silicon sensors, pulses of electricity? Or is the photograph primarily an opportunity to take or make, an arena for a special type of action?” On Polaroids, instantaneous photography, and memory over at The Nation.
Tuesday New Release Day: Millhauser, Matar, Shakar, Fuller, Chez Panisse
Steven Millhauser’s new collection We Others is out this week, as are Hisham Matar’s Anatomy of a Disappearance and Alex Shakar’s Luminarium. Here at The Millions, Shakar recently offered the harrowing story of the publication of his first novel. Alexandra Fuller has a new memoir out. Cocktail Hour Under the Tree of Forgetfulness. and foodies are celebrating with 40 Years of Chez Panisse: The Power of Gathering.
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A Fresh Set of Obstacles
“As employers cut down on benefits and flexibility, more and more people, especially parents and those with chronic illnesses or disabilities, are getting squeezed out of ‘regular’ workplaces and into the freelance economy. What they find there is a whole new labor market that comes with a fresh set of obstacles—and some benefits, too.” On how companies and labor policy push women toward freelancing.
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Basically, Salman Rushdie is the man.
“Writing’s too hard, and most of the time you feel dumb. It’s so difficult, you don’t have time to worry about being famous. That just seems like shit that happens outside.” Cheers to that, Salman Rushdie.
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This is the thing that mystifies me about Knausgaard. However good or bad the books are (I’ve only read the first one), how on earth – in this age, in this economy – did he convince a publisher to that a seven-part quasi-autobiographical series was a good idea? How did he pitch it so that a publisher would say “YES LET’S PRINT ALL OF THEM”? Was it really the strength of his previous work? It’s a head-scratcher for anyone who’s ever tried to pitch just one book.