“As I read her words, I experienced a feeling previously unknown to me: recognition. I had always turned to books for pleasure, as portals to other places. Reading The Woman Warrior, for the first time I saw myself on every page and in every word.” For Catapult, Alexis Cheung writes about representation, being an Asian-American writer, and reading and interviewing Maxine Hong Kingston. From our archives: Kingston’s work was featured in Alexander Chee‘s
If this Curiosity was presented to you in person, it’d go like this: “Hey, Nick, you haven’t posted a beautiful video in a while.” “Oh, I’m sorry. Here’s a 1080p visualization of the ocean’s surface currents between 2005-2007. It looks like Van Gogh painted it.”
Can’t get enough Murakami? In the lead-up to the announcement of this year’s Nobel Prize for literature, Dan over at “How to Japonese” will post a short, new Murakami translation each week. The translations come from an unpublished (in English) collection of Murakami’s answers to his readers’ questions. This week, Murakami tackles safe sex.
“‘What I want,’ a young Luis Buñuel announced to the audience at an early screening of his first film, Un Chien Andalou (1929), ‘is for you not to like the film … I’d be sorry if it pleased you.’ The film’s opening scene, which culminates in a close-up of a straight-edge razor being drawn through a woman’s eyeball, is often taken as the epitome of cinema’s potential to do violence to its audience…Horror movies frighten us; violent thrillers agitate us; sentimental stories make us cry. Suffering is often part of our enjoyment. Within limits, however: we are not to be so displeased that we are not pleased. Buñuel deliberately went beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke.”
“The myth of the full-time writer is a perniciously sticky one—and it doesn’t help that once in a blue moon a J.K. Rowling does come along, thereby entrenching the cultural delusion that being a full-time writer is a thing that could realistically happen. But the truth is that being a full-time writer is basically just the literary equivalent of a career in the NBA.” Liz Entman Harper talks with seven writers about the struggle to balance writing with a day job, and those interviews pair well with our own Emily St. John Mandel‘s look at “Working the Double Shift.”