Out this week: Everything Love Is by Claire King; They Are Trying to Break Your Heart by David Savill; The Moravian Night by Peter Handke; All Joe Knight by Kevin Morris; Of All That Ends by Günter Grass; and A Woman Looking at Men Looking at Women by Siri Hustvedt. For more on these and other new titles, go read our latest fiction and nonfiction book previews.
“Whatever the [Fulbright] program became,” writes Boston Globe correspondent Sam Lebovic, “it was first conceived as a budget-priced megaphone to transmit American ideas to the world, rather than as a genuine international dialogue.” Indeed, one 1940s newspaper columnist dubbed the program “an ingenious piece of higher mathematics…[that] found a way to finance out of the sale of war junk a worldwide system of American scholarships.”
This month the Cleveland International Film Festival will show Dear Mr. Watterson, a film exploring “how … a simple comic strip became so meaningful to such a massive and diverse group of people.” Yet despite the subject matter, the actual author of the Calvin and Hobbes series will almost certainly be absent from the screenings. Over at Full Stop, Liv Combe looks at the ways Bill Watterson is “keeping the idea of the private public figure alive.”
“When I have an idea that will later, sadly, become a story or a poem, I have a sensation of receiving something. But I do not know if that “something” is given to me by something or someone or if it bursts out on its own.” An excerpt from Borges‘s conversations with the Argentinian poet and essayist Osvaldo Ferrari on writing, memory, and God is now available on The New York Review of Books blog.
“Whenever I tried to invent a character or a situation, I felt a stab of guilt. I could hear my teacher’s quavering voice saying, Write what you know! Why had she insisted on this so vociferously?” Writing class mantras are easy to impart but they are also easily misinterpreted. A.X. Ahmad, author of The Last Taxi Ride and The Caretaker, learns this truth the hard way as he tries to become a writer following a personal upheaval. Pair with Ahmad’s Millions essay on “The Thriller, Reinvented.”