At the Guardian, Jami Attenberg, author of the recent memoir I Came All This Way to Meet You, reflects on how a key moment of rejection allowed her to carve out her own path as a writer. “I’m old enough to realise that there is one more important part to carving out your creative life: honouring your successes no matter the size,” Attenberg writes. “And honouring the bad moments too. Laying your burdens down. Building this writing life has always been about recognising what was holding me back so I could move on. One writer told me no. I honour his rejection. He said no, but I said yes.”
“A good translation, Han’s subconscious seems to suggest, is a living, breathing thing, which must be understood on its own terms, discovered from beneath the great white sheet.” The New Yorker explores Han Kang‘s novels and the complex nature of translation. From our archives: The Millions review of Kang’s The Vegetarian and an essay on what gets lost (and transformed) in translation.
Heidi Julavits credits her habit of keeping a diary with convincing her that writing might be a viable career path. In her new book, The Folded Clock, she returns to the format of her childhood, crafting a lengthy diary meant to stand on its own as a narrative. In the Times, Eula Biss reads the book and reflects on our notions of the self. Related: Rachel Signer on the Julavits/Sheila Heti/Leanne Shapton project Women in Clothes.
The Telegraph links all their reviews of Booker longlist titles from one page. If you want to get a look at these literary hotshots, there’s a photo gallery, too.Ed has read Chuck Klosterman, and he’s not very happy about it.The First Post, a new British online magazine leads with John Irving’s book reviewer-bashing.