“[T]here are no creative writing programs in Mexico, so people rely on the infinite patience of their friends.” Valeria Luiselli and Laia Jufresa, longtime readers of each other’s work, in conversation over at BOMB Magazine. See also: our review of Luiselli’s The Story of My Teeth.
Nathaniel Philbrick answers the question Why Read Moby-Dick: “the level of the language is like no other,” but also “it’s as close to being our American Bible as we have.”
In honor of Women in Translation month, The Guardian asks 10 female translators and writers about the work that inspires them, with answers ranging from Visitation by Jenny Erpenbeck to Valeria Luiselli’s The Story of My Teeth, which we reviewed when it came out in the States. Pair with this survey of the work of Argentine writer Leila Guerriero.
Colum McCann can add the International IMPAC Dublin Literary Award to the long list of accolades he has received for Let the Great World Spin. The book is a Millions Hall of Famer and our coverage of the title has been fairly extensive. Previously: Digging into the 2011 IMPAC Longlist, The Eclectic IMPAC Shortlist Has Arrived.
“There are people out there who want you to write their novels for them,” observes professional ghostwriter Sari Botton. Over at Scratch, she shares some advice for breaking into the industry. Also, the magazine has made her longer article about “the spooky finances behind her gigs” free to read – all you have to do is register.
Does modern China need its own literary sub-genre? On trying to understand China’s “ultra-unreal” reality: “If Magic Realism was the way in which Latin American authors presented their view of their reality, then Ultra-Unreal Realism should be our name for the literature through which the Chinese regard their reality. The Chinese word ‘chaohuan’ (ultra-unreal) is something of a play on the word ‘mohuan’ (magic), as in ‘mohuan xianshizhuyi’ (magic realism)— ‘mohuan’ is ‘magical unreal,’ and ‘chaohuan’ is ‘surpassing the unreal.’”
“Every story that works gets the level of description that it needs. Which isn’t to say that the level of description needed for every successful story is the same.” Tobias Carroll surveys the wide variety of detail density in fiction for Electric Literature.