“The things I do not want to write about become the things I write about.” Year in Reading alumnus Eimear McBride talks to The Guardian on the occasion of her second novel’s arrival. The Lesser Bohemians follows upon her hugely successful debut, A Girl Is A Half-Formed Thing, which we reviewed back when it came out in the U.S.
Most of our discussions about changing the canon revolve around adding onetime marginalized writers. But there’s a flipside to this — who do we need to eject? In a Bookends column for the Times, James Parker and Francine Prose pick greats that are no longer great.
“In 2007, five out of the 10 best selling novels in Japan were originally mobile phone novels,” reports Olivia Solon. (In 2008, we published a translated excerpt of one.) Now Movellas has emerged as a new platform for Keitai Shousetu, or literature designed for mobile devices.
Jacob Silverman tackles the niceness epidemic besieging literary criticism at the moment. Where have the hatchet jobs gone? Is social media’s “communalism” robbing critics of their fangs? Each time a publication refuses to print a negative review, the act amounts to “a victory for a publicist, but not for readers,” he writes. (Just a few notes: Silverman’s piece is based on a blog post he wrote recently; Emma Straub has responded on her own blog; and, for what it’s worth, our own Michael Bourne’s recent review of Richard Ford’s Canada was pretty toothy.)
The Great Gatsby debuted in 1925 to poor sales and mediocre reviews. So how did it become one of the most famous novels in America? At Slate, Cristina Hartmann explains how Fitzgerald’s opus, which netted the author royalties worth a grand total of $13 in his lifetime, went on to become a classic. Related: our own Bill Morris on a book about the novel by Sarah Churchwell. (h/t The Paris Review Daily)