“So why should the stories about us always be about the bad stuff? We deserve the romantic comedy, the late night barfly scene, the silly, light-hearted stuff of life reflected back at us.” Camille Perri writes about the need for queer stories that are not rooted in sadness, trauma, or loss. Pair with: an essay on the commercial viability of LGTBQ literature.
“Part of what I realize now I was doing in Proxies was to integrate the incongruous aspects of my self: the child of the truck driver and Primitive Baptist self, the queer intellectual poet self, the professor without an office self, the prizewinner who was ‘midcareer’ before he was ’emerging,’ the middle-aged man at the entry-level rungs of the gig economy.” Go check out this interview with Brian Blanchfield over at The Rumpus. This is the second Blanchfield interview we’ve told you about, both worth taking a look.
“‘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.”
How does Karl Ove Knausgaard delve into some of the oldest parts of his memory for his writing? “I remember every single room that I have been in from the age of seven. What I did was to place myself in those rooms, and when I started to write about them it was like unlocking a thousand small doors, all leading further into childhood,” he told Cressida Leyshon at The New Yorker. Knausgaard also has a story, “Come Together” (behind the paywall), in the current issue. Pair with: Our essay on My Struggle.
“To me a book is not just a particular file. It’s connected with personhood. Books are really, really hard to write. They represent a kind of a summit of grappling with what one really has to say. And what I’m concerned with is when Silicon Valley looks at books, they often think of them as really differently as just data points that you can mush together. They’re divorcing books from their role in personhood.” Digital pioneer and theorist Jaron Lanier fears that the Internet might be destroying not just literature, but also the middle class.