In case you missed it, this past weekend The New York Review of Books likely outed the author who’s been writing under the nom de plume of Elena Ferrante. Condemnation was fast and furious, including pieces by n+1 and this fantastic Twitter thread by critic Lili Loofbourow. We join the chorus of voices who would rather direct the attention back to Ferrante’s work. Might we suggest starting with this piece about The Neapolitan Quartet‘s subversive power?
Ferrante Furor
More Top Books for 2009
More lists of the top books of 2009 are coming out. Now up: Amazon’s favorites. Tops on their list is Colum McCann’s Let the Great World Spin, recently named a National Book Award finalist.
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“на один процент” is “one percent” in Russian
Apropos of yesterday’s round-up of Russian social unrest: the children of Russia’s 1%.
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Letters to a Young Writer
Over at the Story Prize blog, Year in Reading alumnus Colum McCann shares a letter of advice to writers starting their career. As he puts it, “A story begins long before its first word. It ends long after its last… [it] reveal[s] a truth that isn’t yet there.”
Thanks But No
Rejection is something all writers face and no one’s pretending it’s pleasant, but worse than the rejection itself are the hours spent deciphering where a submission went wrong. Thankfully Lincoln Michel at Electric Literature was inspired by a 1920s rejection slip to create a self-explanatory “thanks but no thanks” note. While we’re thankful these aren’t the norm, we can definitely see the appeal…
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Confessional Criticism
“Contemporary criticism is positively crowded with first-person pronouns, micro-doses of memoir, brief hits of biography. Critics don’t simply wrestle with their assigned cultural object; they wrestle with themselves, as well. Recent examples suggest a spectrum, from reviews that harmlessly kick off with a personal anecdote, to hybrid pieces that blend literary criticism and longform memoir.” On why critics get personal in their essays.
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Appearing Elsewhere: The Pale King and the DFW Legacy
You can read my take on The Pale King – and what it says about Wallace’s legacy – at New York Magazine.