Whether or not you’ve read Grace Paley, you’re likely to appreciate this George Saunders essay about her, which justifies his contention that she’s “one of the great writers of voice of the last century.” You could also read our own Garth Risk Hallberg’s tribute to Paley upon her death.
Among this week’s new books we have The Twelve by Justin Cronin (our review), The Fifty Year Sword by Mark Z. Danielewski (our interview), The Miracle Cures of Dr. Aira by César Aira (our review), and Zoo Time by past Booker Prize-winner Howard Jacobson. In non-fiction, Mark Bowden has penned an account of the killing of bin Laden.
Out this week: Fates and Furies by Lauren Groff; The Blue Guitar by John Banville; Undermajordomo Minor by Patrick DeWitt; Sweet Caress by William Boyd; The Double Life of Liliane by Lily Tuck; The Marvels by Brian Selznick; Scrapper by Matt Bell; and The Story of My Teeth by Valeria Luiselli. For more on these and other new titles, go read our Great Second-Half 2015 Book Preview.
“And then Obama comes over to my desk with the speech, and he has a few edits. And he’s like, ‘I just want to go through some of these edits and make sure you’re ok with this. I did this for this reason. Are you ok with that?’ And I’m like, ‘Yeah, buddy. You’re Barack Obama.’” Jon Favreau, former chief speechwriter to President Obama, sits down with Longform.
“I HAVE A FLOWER. OHO. SUDDENLY WE’RE NOT SO SKEPTICAL, ARE WE?” I know it’s 2016 and he’s been dead for almost two hundred years now, but these otherwise inexplicable texts from Samuel Coleridge (by way of Mallory Ortberg at The Toast) are hilarious and totally believable. Some earlier hits include texts from Charles Bukowski and Cormac McCarthy.
We’ve been following the YA debate quite attentively – I wrote about it just last week – but Sarah Burnes‘s addition to the conversation, a blog post for The Paris Review, is one of the most eloquent I’ve read. In defense of reading YA fiction as a “grown-up” she writes, “The binary between children’s and adult fiction is a false one, based on a limited conception of the self. I have not ceased to be the person I was when I was an adolescent; in fact, to think so seems to me like a kind of dissociation from a crucial aspect of one’s self. And the critic should be concerned with what is good and what is bad, what is art and what is not—not with what’s ‘appropriate.'”
It’s high time we acknowledge the mastery of the short story by some really fantastic American women. At LitHub, Bridget Read makes a compelling case for such writers as Lucia Berlin and Jamaica Kincaid as veritable dons of the genre. This piece pairs nicely with a recent Millions essay by Adam Boffa on terseness, Twitter, and Lydia Davis.