“BEST FEATURE: If you glance at the word it looks like it says ‘tiny axe’ which sounds very cute. It makes me picture a tiny lumberjack. WORST FEATURE: Anxiety can turn a pleasant afternoon into a sweat-drenched pair of slacks that are hard to explain.” Ted Wilson reviews anxiety (spoiler alert: it only gets one star out of five) for Electric Literature.
"Why write in an unlovable genre with an inevitably hectoring tone? Dystopia, situated in a dangerous no-man’s-land between the pulpit of the preacher and the safe sniper post of the satirist." Future futurists, take note: the New York Review of Books reviews Chang-Rae Lee's addition to your dystopic shelf, On Such a Full Sea, and ponders the virtues of the dystopic endeavor itself. (Bonus: Lee writes about his own 2013 Year in Reading here at The Millions.)
Michael Cunningham, who alongside Maureen Corrigan and Susan Larson sat on the jury of the Pulitzer Prize for for fiction, gives the clearest account yet of how the award process works and defends the three shortlisted titles. His letter is in two parts, he also addresses the function of judgment and begins to build a poetics of literary greatness.
“Arguably versioning is a practice reserved for when a literary translator isn’t available or perhaps doesn’t actually exist who can bridge both languages. At worst, it has and can be done by colonisers or writers from major languages mangling minor literatures for sport and without care from a position of imbedded prejudice, power and authority.” Jen Calleja on the difference between translating and versioning of an original text, over at The Quietus.