Yiyun Li spoke to Rosemarie Ho at the Nation about her most recent book, Where Reasons End, a novel that many critics are labeling autofiction. When describing the process of writing the book, Li sees herself as more of an impartial reporter than a novelist. “You can never get as precise as you want in writing,” Li says. “It’s always just getting as close as you can. For me, precision in writing is one of the most important things. But again, I always have to acknowledge at some point that I can never get as close as I want, that I can only get a proximity to precision.”
In the introduction to her interview with the author, the inimitable Parul Sehgal described Chimamanda Ngozi Adichie’s latest novel, Americanah, as “a thrilling and risky piece of writing that takes on taboos, shatters pieties, and combines forthright prose, subversive humor, and a ripping good story.” If that doesn’t sell you, I don’t know what will.
Stephen Fry joins “the congregation at the Church of Apple” for the launch of the iPad and shares his thoughts on the company and its newest product.
Leave it to Roxane Gay to come up with a novel format for an essay on the feminist novel. In the new issue of Dissent, she presents eleven theses on the topic, including references to Toni Morrison’s Beloved, Erica Jong’s Fear of Flying, and Jeanette Winterson’s Oranges Are Not the Only Fruit. Sample quote: “Not every novel that concerns itself with the lives of women is a feminist novel. Fifty Shades of Grey is not a feminist novel.” You could also read our own Edan Lepucki on the problem with feminist anthems.