“Could I write a novel about fugues in the form of a fugue?” Margot Singer wonders in The Paris Review, remembering the process of writing her first novel and considering other authors – Joyce, Nabokov, Woolf – who have tried to compose words musically. See also: our own Jacob Lambert on whether to write with background music on.
In a Fugue State
Launching Catapult
Catapult.co, a new literary website and publisher from the founders of Electric Literature and Black Balloon Publishing, has debuted online this week. It features stories by Padgett Powell and Joy Williams, and a remarkable essay about living in New York by Alexander Chee.
The Dead Author’s Home
J.D. Salinger's house is on the market and generating plenty of buzz, but before you make an offer consider "what does it mean to want to live in a dead writer’s house? When does fandom devolve into idolatry?"
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An Interview With Helen DeWitt
Helen DeWitt talks to Bookforum about the origins of her long (as in really long!)-awaited second novel, Lightning Rods.
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I Sanction This
Talk about built-in irony: the class of tricky words known as “contronyms” can mean the opposite of what you think they mean.
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Misprint: Nabokov
Thanks Robin! Corrected.
Anthony Burgess accomplished that feat.
Beamish!
Well-read you are! I went off AB but 15 years ago I read (and owned) almost every novel (and a few books more) he’d written. Something in Earthly Powers irritated me and the spell was broken… and I must admit I never finished “Napoleon Symphony” (is that the book, or one of the books, you mean?), which was slyly… embarrassingly? dedicated to Kubrick. The problem with AB’s “musical writing” (that is, writing prose to mimic musical effects): you can’t really produce parallel constructions, for the reader, in Lit… there’s no polyphony. You have to make do with Gregorian chants!