At Time, Pulitzer Prize-winning author Richard Powers discusses his newest novel, Bewilderment, which is set during a period that resembles our own—but not quite. ” I was thinking a little bit along the lines of the form that science fiction writers like to call the ‘near-term future,'” Powers says, “where the story treats a world that’s a lot like ours, but set in some undesignated time in the future, in a way that allows the writer to speculate about the potential of the present to unfold in different ways. I guess it’s what Brecht would call the estrangement effect, where the realistic is made unusual again by just slightly changing the perspective from which you view it. And by putting the Earth on a slightly different trajectory, I was hoping to intensify and to make real again a lot of the things that we readers would probably simply gloss over because we’ve already discounted them as familiar.”
The new David Mitchell novel, The Bone Clocks, ends in rural Ireland, which explains why Kathryn Schulz chose to interview Mitchell on a walk through the Irish countryside. At Vulture, she talks with Mitchell about supercontinents, writing in childhood and the global scope of his work. You could also read the story Mitchell recently wrote on Twitter.
Joshua Cohen, author of the just-published meganovel Witz, dispenses provocations in The New York Observer: “The targets might be Michael Chabon, Jonathan Safran Foer, Shalom Auslander… When I started this book, I wanted to sleep with their wives. By the time I finished, I wanted to sleep with their mothers.”
If you’ve been on the Internet in the past week, you’ve probably heard about Beyoncé’s incredible new record, Lemonade. Noah Friedman at Wordshop 101 explains why Lemonade is great press for poets (particularly Warsan Shire, who is featured in the film). Andrew Kay writes on how reading poetry aloud connects us with the dead.