“Still, what he captured with genius was the ontological unease of a world in which the human and the abhuman, the real and the fake, blur together.” An essay in the Boston Review argues the importance of Philip K. Dick‘s literature— where the real and fake intersect and collide — and the world we live in today. From our archive: on the pleasures of Dick’s sometimes awful prose.
“As everyday existence becomes more punitive for all but the monied few, more and more frustrated, volatile individuals will seek each other out online, aggravate whatever lethal fairy tale suits their pathology, and, ultimately, transfer their rage from the screen world to the real one.” Gary Indiana reviews Masha Gessen’s The Brothers: The Road to an American Tragedy for the London Review of Books.
“Magic I think for me is kind of personal. Like, as soon as magic is in play, then I am given permission to imagine a different world, one in which magic things might happen—one where maybe I get some magic to wield if I’m lucky. Where cool stuff might happen at any given moment, cool stuff you wouldn’t even guess at. And for as long as the story holds, I’m kind of living in that world.” John Darnielle talks with Colin Winette about E.R. Eddison‘s The Worm Ouroboros, reading high fantasy and writing Wolf in White Van.
Whether you admire the work of e.e. cummings or think of him mainly as the inspiration for your high school’s worst poet, you’ll enjoy this excerpt of Susan Cheever’s new biography, which touches on the poet’s later years and his relationship with Cheever’s father. The two (contrasting) money quotes here are Malcolm Cowley’s claim that cummings was “the most brilliant monologuist I have known” and this exasperated question posed by Helen Vendler: “What is wrong with a man who writes this?