At The Guardian, this year’s six Booker Prize finalists describe the inspiration behind their books. Yesterday, the 2020 Prize was awarded to Shuggie Bain author Douglas Stuart, who explains that writing is both a source of comfort and a rejection of his childhood. “I grew up to be a textile designer. I had wanted to study English and to become a writer, but in the world of my childhood, boys didn’t do such things. Studying English was middle-class; even the word English was jarring and dangerous in the East End of Glasgow,” he says. “Because of my upbringing I felt so much like an impostor that I wrote in secret, and told no one (other than my husband)…Men from the west coast of Scotland are not known for revealing their tenderer feelings. Fiction allows me to make sense of things I am unable to express in other ways. It took 10 years to write the novel because I felt such comfort in the world I was creating.” Shuggie Bain was featured on our February Most Anticipated list alongside another shortlisted book: Brandon Taylor’s Real Life.
Gary Shteyngart’s Super Sad True Love Story is now a reality. He got to try Google Glass and wrote about the experience for The New Yorker. “When the velvet-rope hostess at the of-the-moment Wythe Hotel bar in Williamsburg stops to take a photo of me with her iPhone, I know exactly what the producer meant. This is the most I will ever be loved by strangers.”
“To the list of differences between men and women, we can add one more: the drug-dose gender gap. Doctors and researchers increasingly understand that there can be striking variations in the way men and women respond to drugs, many of which are tested almost exclusively on males.” On the strikingly persistent gender gap in pain.
Tin House magazine’s new Theft issue includes gems like this poem from Matthew Zapruder and this story by Kirsten Bakis among many others. John Brandon’s essay from The Millions on the literary consequence of petty theft is a perfect follow-up read for all of you kleptomaniacs out there.