“I guess the book could be read also as poetry, but I just didn’t want to define this book, I didn’t want to put it under any label.” The Rumpus interviews Chilean author Alejandro Zambra about his newest book, Multiple Choice. And if you want more Zambra – and believe us, you do – we interviewed him too back in 2011.
D) All of the Above
Talking Covers with Jonathen Lethem
Sean Manning (of Talking Covers) hosted a discussion with Jonathan Lethem last week at LA’s Last Bookstore. You can check out video and audio of the event over here, and the post also features an exclusive glimpse at the cover art for Lethem’s forthcoming novel Dissident Gardens. (Bonus: a look at Dissident Gardens in our Great 2013 Book Preview.)
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Co-Laureates
Congratulations to Matthew Sage and Michael Bussmann for becoming co-Poet Laureates of Fort Collins, Colorado. Based on New York Magazine‘s calculations, however, their shared honor isn’t likely to pay off monetarily any time soon.
Big Little Lies
“Literature can use secrecy as a device to ensnare readers, to pull the wool over their eyes or to reveal to them things that the characters can’t see. Whether large – businessman by day, serial killer by night; or small – where a character silently yearns for an ex-lover.” Eli Goldstone compiles a list for The Guardian of 10 novels whose characters are concealing big secrets, including a few lesser-knowns like Shirley Jackson‘s We Have Always Lived in the Castle and New Finnish Grammar by Diego Marani.
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“на один процент” is “one percent” in Russian
Apropos of yesterday’s round-up of Russian social unrest: the children of Russia’s 1%.
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Not His Best Work
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My Brah Horatio
Happy (?) Birthday, Franz
Franz Kafka’s birthday was a couple of days ago — the celebration (which would surely have been a subdued affair) would have been his 133rd. Celebrate yourself by taking look at this helpful animation which explains the woefully misused term “Kafkaesque.”
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Some Notes on Sexism and Reviews
Breaking Up with God author Sarah Sentilles responds to some of her memoir’s critics. “Reviewers’ words about my book,” she writes, “demonstrate how sexism shapes responses to women’s writing, in particular women’s writing about God.”
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