Posts Tagged: Alexander Chee
Saturday 3/19: Esther Lin, Rajiv Mohabir, and Jonathan Alexandratos join the Oh, Bernice! Reading series. Astoria Bookshop, 7 p.m., free.
Dawn Lundy Martin and Rosemarie Waldrop join the Segue Series. Zinc Bar, 4:30 p.m., free.
Abigail Welhouse launches Too Many Humans of New York along with Ernest Barteldes, Jessica Gentile, Carly Rubin, and Frankie Thomas....more
I’m just back from Iowa, writing about the Democratic Caucus for Salon. You know what will make you think about citizenry? Watching hundreds of working-class union members standing in the harsh wind and freezing rain waiting to get in to a Hillary Clinton rally in an overheated high school gym in Cedar Rapids....more
The historical novel describes then what might have happened within what happened; the feeling of being free within the machine of one’s fate, dare I even say the old consciousness.
For The New Republic, Alexander Chee explores historical fiction and whether the genre owes more to literature or historical accuracy....more
This week I found myself reading way too much about the Democratic primary. To what extent is the expressed dislike of Hillary rooted in sexism? Is being the first woman to win a primary contest in the United States giving a big f-you to the establishment, or is someone who’s been paid big bucks by Goldman Sachs by definition as establishment as you can get?...more
Saturday 2/6: John Wray and Will Sheff celebrate the launch of The Lost Time Accidents, Wray’s new novel. BookCourt, 6 p.m., free.
Liz Howard and Lanny Jordan Jackson join the Segue Series. Zinc Bar, 4:30 p.m., $5....more
Michael Morse, Kristina Bicher, Mary Lou Buschi, Emily Skilings, Wendy Weinstein, and Sharon Mesmer join the Couplet reading series, rescheduled from last week because of the blizzard....more
Alexander Chee writes for LitHub on Elena Ferrante’s pseudonymous, social-media-free existence and the choices other authors have made to dis/engage with social media at points in their careers:
Ferrante’s anonymity is something of a feminist project, also. No one is able to talk about her appearance.
When I move from first to third person, or second, if I keep the present tense, it is not because what happens is somehow cinematic to me—it is perhaps closer to say that cinema most resembles what that looks like. If anything, it feels most like theater to me.
Did Harry Potter turn us into serial readers? Alexander Chee suggests J.K. Rowling and Karl Ove Knausgaard aren’t all that different:
We are all after that word-lust, the novel that makes us want to read it as quickly as possible, and when we find it, we experience the paradoxical desire to stay inside the world the writer has created—which is impossible if we read quickly, unless there’s a sequel.
It’s that time of year again, where writers young and old, from all corners of the country, come to congregate in one gigantic, frenetic, neurotic, alcohol-infused crowd, in a couple of fancy hotels no one can really afford, to stay in and talk shop (or not, depending on how your writing’s been this year)....more
For The Millions, Hannah Gersen shares the visual aid she used to construct her novel and asks other writers about their own:
I got curious about the other visual aids that novelists create to manage their books, so I asked around and gathered a variety of notebook pages, diagrams, and timelines.
Should a writer submit to a literary magazine that only “pays” in contributor copies? What does it mean that we, in the literary community, have accepted lack of monetary payment as commonplace?