Posts Tagged: Michael Chabon
Wednesday 12/14: McSweeney’s presents Emily Carr (Whosoever Has Let a Minotaur Enter Them, or a Sonnet). Free, 7 p.m., Alley Cat Books.
Thursday 12/15: Poet and “political researcher” Peter Dale Scott reads....more
For GQ, Pulitzer Prize-winning author Michael Chabon applies his discerning eye to a subject close to his heart: his fashion-obsessed son:
He would lay out its components, making a kind of flat self-portrait on the bedroom floor—oxford shirt tucked inside of cotton sport coat, extra-slim pants (with the adjustable elastic straps inside the waistband stretched to button at the very last hole), argyle socks, the whole thing topped by the ubiquitous hat—and I would try to understand what the kid got out of dressing up every day like a pint-size Ronald Colman out for a tramp across the countryside of Ruritania.
At The Millions, Jonathan Gottschall compares his experience learning to cage fight with the struggles of being a writer, as “the writing game, like the fighting game, mostly ends in breakage”:
Literary history is a history of victors. So stories about the struggles of well-known writers almost always follow the comforting arc of suffering redeemed.
[The] Bats were a fine little band, a unique assemblage of diverse strengths and quirks, anchored by one of the most rock-solid drummers ever to grace the Pittsburgh scene, and hampered only by the weakness of their goofball frontman.
That’s a quote from Michael Chabon, novelist, screenwriter, and “goofball frontman” of 80’s Pittsburgh punk band, the Bats....more
At The Millions, Jonathan Russell Clark ruminates on the idea of the epigraph. Over the past decade, Clark has kept a Word document filled with quotes from literature, and the amassed 30,000 words, he admits, are less for insight and inspiration than a source of potential epigraphs for his own work....more
In 1966, when The Crying of Lot 49 was published, Pynchon’s “all-ecompassing paranoiac vision of history” seemed “so kooky” and “far-fetched.”
Fast forward to 2013, and Pynchon’s Bleeding Edge, a novel focused on events before, during, and after 9/11 “becomes not just an ideal but a compulsory subject for a late Pynchon novel,” as Michael Chabon writes in his review for The New York Review of Books....more
In a sort of Bay Area meeting of minds, Scott Hutchins, author of a novel about San Francisco and Silicon Valley, profiles Michael Chabon, whose latest novel takes place mainly in Oakland and Berkeley.
Read it to learn about Chabon’s love for the East Bay, his similarities to Charles Dickens, and Telegraph Avenue‘s beginnings as a failed TV pilot....more
Michael Chabon and Ayelet Waldman are writing the pilot, swept up in the TV magnetism that has attracted more and more seasoned writers as of late....more
A new article over at Mother Jones gives us summer nonfiction picks from some of the biggest writers working today. Susan Orlean recommends The Looming Tower, Jennifer Egan selects The Image, and Michael Chabon has this to say about The Encyclopedia of Fantasy:
“A single, immense, thrilling work of literary theory disguised as a reference book.”
Hmm… Doesn’t sound exactly like beach material to us....more
“I don’t go down wrong paths, I’d rather stare at the screen and delete until I’ve put something down that is working. So, I don’t discard material; I don’t have a lot of false starts or unfinished stories or novels lying around....more
In a recent article in the New York Review of Books, Michael Chabon laments the loss of a sense of adventure in childhood. “If children are not permitted—not taught—to be adventurers and explorers as children,” he said, “What will become of the world of adventure, of stories, of literature itself?”
But Sergei Lobanov-Rostovsky at The Kenyon Review thinks Chabon might be giving the grown-ups a little too much credit:
“Chabon … may be right that all children are instinctively adventurers, and he’s certainly right that limiting their exploration of the world in the name of safety threatens their creative imagination....more
“We have this idea of armchair traveling, of the reader who seeks in the pages of a ripping yarn or a memoir of polar exploration the kind of heroism and danger, in unknown, half-legendary lands, that he or she could never hope to find in life....more