Out this week: All You Can Ever Know by Nicole Chung; Things to Make and Break by May-Lan Tan; Gone So Long by Andre Dubus III; Impossible Owls by Brian Phillips; Scribe by Alyson Hagy; A Dream Called Home by Reyna Grande; What If This Were Enough? by Heather Havrilesky; and Good and Mad by Rebecca Traister.
In the latest Baffler, Evgeny Morozov argues that Silicon Valley, in typical fashion, has taken to “hacking” our language. Old, trusted words don’t mean what they used to mean, and complex ideas have been stripped of subversive implications. “Complexity,” he writes, “is not particularly viral.”
Edmund Wilson famously said of the works of H.P. Lovecraft that “the only real horror in most of these fictions is the horror of bad taste and bad art.” In time, however, Lovecraft developed a substantial following, which raises the question of what attracted readers to his work. The answer? “The weird realism that runs through his writings undermines any belief system – religious or humanist – in which the human mind is the centre of the universe.” Related: Ben Dooley on the scariness of House of Leaves.
“Once [Jenny] Diski did get going as a writer, she and [Doris] Lessing agreed to a kind of literary nonaggression pact: Lessing would not write about Diski if Diski would not write about Lessing. Even now, I sensed a note of anxiety in Diski’s attitude toward her current project. When I asked her if she had any titles in mind for the finished work, she said: ‘Gratitude.’ Or: ‘Ingratitude.’ I can’t decide which.’”
“It is now, at this precise moment when I become woefully aware of the cruel transience of this seasonal offering, rarely lingering beyond the Marigold blooms of latter March, and at once I am lost amidst a magnificent vision, one in which our hallowed Saint Patrick himself is riding shotgun alongside me in this very Camry.” In which James Joyce orders a shamrock milkshake.