“Hamlet’s famous last words—’The rest is silence’—are less punning than ironic, since both his parting, eloquent gasps and his death play out amidst a growing bassline beat. ‘What warlike noise is this?’ Hamlet asks as the poison takes hold. The drums and commotion signal the arrival of the Norwegian crown prince Fortinbras, who bursts into the quiet of the massacred Danish court. From the beginning of Hamlet, we’re taught to think of sovereignty as a manipulation of sound waves.” What does silence mean in this age of constant digital noise? The Literary Hub takes a look.
Today is Haruki Murakami’s birthday, so what better day to announce the title of his next work, Kishidancho Goroshi (Killing Commendatore)? The novel, which is divided in two parts – Arawareru Idea (Emerging Idea) and Utsurou Metaphor (Moving Metaphor) – is slated for a late February release in Japan. As of this writing, very little is known about the novel’s plot.
A new Hemingway App promises to trim the fat from your writing in a way that the Great Bearded One would’ve approved. The app uses various color codes to highlight writing written in the passive voice, writing that’s too hard to read, and also unnecessary adverbs or complex phrases. Sounds interesting enough, no? Well, the problem is that someone ran the Hemingway App on some actual Ernest Hemingway writing, and it turns out that Papa himself didn’t even write to the app’s standard.
Out this week is a highly touted seafaring debut We the Drowned. This book in translation is by Danish writer Carsten Jensen. Another debut effort arriving this week is Open City by Teju Cole, which PW likened to Coetzee, Sebald, and Nicholson Baker. Out in paperback today are Adam Haslett’s Union Atlantic and controversial Millions Hall of Famer Reality Hunger by David Shields.
For a man who’s retired, Philip Roth is still oddly present in the literary world. Ever since he announced his intention to quit writing, he’s made a stream of public appearances, including an awards ceremony at Yaddo one week after claiming he’d never appear on stage again. So what gives? In The Baffler, J.C. Hallman explains why writers can never really quit, in a piece that nicely complements our own take on literary retirement. FYI, Hallman has written for us.