“We live in a time of image explosion, but without that network images are just content. There’s simply no possibility of a viral digital success—a ‘Call Me Maybe‘ of painting or photography—because a work only becomes successful upon its art world approbation.”
“I don’t think writing the truth makes you strong by default. I think it makes you vulnerable, which in turn can make you strong.” Amy Jo Burns writes for Ploughshares about the difficulties of “Writing About Other People” and the upcoming publication of her debut memoir, Cinderland.
Zachary Lazar talks to Mary Jo Bang about her radical translation of Dante’s Inferno: in an attempt to render the shock Dante caused by writing in conversational Italian rather than the conventional Latin, Bang translated Dante’s text in modern-day English adorned with references to American pop culture. A sample of the text is available online.
The office novel, by nature, is a tricky construct, if only because your average white-collar job doesn’t offer much in the way of fiction-worthy moments. That said, recent books like Then We Came to the End by Joshua Ferris demonstrate how fruitful it can be to wring drama out of the rat race. In the latest issue of Dissent, Cubed author Nikil Saval delves into the contradictions of office fiction. FYI, Saval wrote a Year in Reading entry for us.
Earlier this month, Jack Daniel’s wrote Patrick Wensink a cease-and-desist order because the cover of Wensink’s latest novel, Broken Piano For President, bears a striking resemblance to the whisky’s logo. Surprisingly, instead of some whisky-soaked tirade, the letter is really, really nice.