Recommended Reading: Here’s some helpful advice we all could use — how to raise a mensch: “Less obvious but equally central values that Marjorie Ingall highlights include having a healthy distrust of authority. Jews come from a vertiginously long tradition of ‘questioning, yammering, challenging and disputing,’ she writes. ‘The Talmud, the compendium of Jewish law, is pretty much a bunch of dudes contradicting one another. Each page is a big box of text in the middle, and wrapped around it like a frame is lots of ‘Wait, you think what?’ '”
“Her characters sleepwalk to their certain fates through artificial pocket universes, each one seemingly constructed to satisfy the curiosity of an inhumane, omniscient narrator. Few writers have been so consistently and brilliantly unkind.” On Muriel Spark’s The Bachelors.
"The American poem was not in a grave at that time; not by any measure. There was achievement, experiment, excitement. But there was also confinement. It could be felt in the air, in an ethos of conditional acceptance. A young woman poet was not yet a familiar sight. When Auden remarked about [Adrienne] Rich’s poems, after choosing her as a Yale Younger Poet, that they were 'neatly and modestly dressed,' it sounded more like a counsel for the nursery than acclaim for a new writer.” At The New Republic, Eavan Boland reflects on the legacy of the poet, whose posthumous collection, Later Poems, came out last week.
Charles Bock (Beautiful Children), in a recent interview, sounding perturbed: "Where are you right now? I’m in a writer’s room in Manhattan. There’s all these other people with their fucking computers doing their stupid little bullshit. It feels pointless. You wanna feel like it matters. It’s hard to do that when you’re in a room like this. At least it’s quiet."
"The internet has altered our lives in ways television never did or could, but mainstream literary novelists – by which I mean writers who specialize in realistic, character-based narratives – have mostly shied away from writing about this, perhaps hoping that, like TV, it could be safely ignored." Laura Miller examines how contemporary novels are coming to terms with the internet.