Out this week: She Would Be King by Wayétu Moore; Crudo by Olivia Laing; Ordinary People by Diana Evans; The Real Lolita by Sarah Weinman; The Mermaid and Mrs. Hancock by Imogen Hermes Gowar; and The Personality Brokers by Merve Emre.
“It’s difficult to pinpoint exactly what makes a great artist creative” but The Atlantic makes a strong attempt and cites the story behind Mary Shelley‘s Frankenstein as an example of what can happen “when experience, openness, and the right neurology come together.”
“There are so many ways to look at translation. One that has recently occurred to me is that of a tether: the translator is tethered to the meaning of the original the way an animal can be tethered to a stake. You can’t take off and roam the hills, but you can definitely move around and experience a comfortable degree of freedom.” Asymptote talks with Juliet Winters Carpenter about Japanese tanka poetry, Machi Tawara‘s Salad Anniversary, and the careful balance of translation.
Have you Yanks seen BBC‘s 6-episode series cum feature film The Trip? If not, your interest will be piqued by this clip of the show’s main characters doing their best Michael Caine impressions. It’s on Netflix if you’re into laughter, merriment, and that sort of thing.
“Long before feminism made fashion a guilty pleasure, my first experience of the sisterhood among strangers took place in a communal dressing room.” Judith Thurman writes for The New Yorker about Women in Clothes and her experiences in thrift stores and clothing swaps. For more about the connections between feminism, dressing and literature, check out Rachel Signer‘s Millions review of the same anthology.
The Harry Ransom Center in Austin, Texas made headlines when it acquired the David Foster Wallace archives. Now it’s added another high profile author to its collection: J. M. Coetzee.