Kaitlyn Greenidge, author most recently of We Love You, Charlie Freeman (Algonquin Books) provides her take on Lionel Shriver’s recent remarks at the Brisbane Writers’ Festival for the New York Times. Greenidge recalls writing her first novel in which there was an eighty-year-old Yankee heiress....more
Posts Tagged: New York Times
In a New York Times article, Elliott Holt writes about how omniscience is making a comeback in contemporary fiction. She writes:
The effects of omniscience are authority and scope; novels with such narrators seem especially confident. The characters may be uncertain, but we sense the controlling force above them.
In the New York Times, Rachel Cusk takes on two new memoirs about infertility and the quest for motherhood to explore the wholly compelling “half-analogy between the writing student and the woman embarking on in vitro fertilization.” Julia Leigh’s Avalanche relates six years of the author’s trying and ultimately failing to get pregnant; Belle Boggs, in The Art of Waiting, uses Virginia Woolf’s account of childlessness to explore her own....more
Perumal Morrigan is an author from a small Indian town who writes about caste and how it plays out in fictional villages. After bearing an organized attack against his novel One Part Woman in his hometown, the author didn’t write or read for several years, reports Ellen Barry for the New York Times....more
As both a storyteller and a stylist, Braverman is remarkably skilled, with a keen sense of visceral detail … that borders on sublime.
Harry Potter fans are celebrating the release of J.K Rowling’s newest work, Harry Potter and the Cursed Child, the eighth installment in the Harry Potter series. However, unlike the other novels in the series, Cursed Child is the script of a play, written primarily by playwright Jack Thorne with the help of Rowling:
It’s hard to imagine enthusiasm running as high for the unvarnished script, which could fall flat on the page without the elaborate staging and the emotional nuances of a performance.
When a writer has said all that he or she has to say, or as much as possible before mortality intercedes, the body of work remains incomplete no matter the size of the output. The taunt persists: That’s it?
At the New York Times, Roger Rosenblatt bemoans the haunting presence of the writer’s oeuvre....more
In her review of Cynthia Ozick’s new essay collection, Critics, Monsters, Fanatics, and Other Literary Essays, Zoe Heller quotes Ozick quoting Lionel Trilling in reference to Jonathan Franzen’s commercial-literary ambition: “a writer must ‘direct his words to his spiritual ancestors, or to posterity, or even, if need be, to a coterie.’” Heller is interested in Ozick’s endurance, and her persistent delineation of fame and recognition....more
You don’t like to quit, but need a nudge to wade back into the novel’s overflowing streams of character consciousness, arcane references and shifting structure to follow those people going about life in Dublin on June 16, 1904.
Yes, another Bloomsday has come and gone, and maybe you didn’t get around to finishing James Joyce’s epic masterpiece, Ulysses, as you had hoped....more
In a piece on a new production of Mozart’s “Abduction from the Seraglio,” the New York Times makes a case for this old art form’s role as an agent of change in our tumultuous cultural reality:
For centuries, opera has been a tool of power, a spectacle developed and organized by influential Western nations and the elites within them.
There is a new name to add to this list—Alton B. Sterling, 37, killed by police officers in Baton Rouge, La. It is a bitter reality that there will always be a new name to that list. Black lives matter, and then in an instant, they don’t.
At the New York Times, Adelle Waldman, author of The Love Affairs of Nathaniel P., writes about how a national park in Montana left an indelible mark on her and her marriage:
We were both intoxicated by the place, not only by its beauty but by the feeling of remoteness that is as much psychological as geographic.
While I couldn’t read “In Gratitude” without a persistent lump in my throat, and without the persistent awareness that its author was … experiencing the very last days or hours or minutes of her life, Diski’s final book proves transcendently disobedient, the most existence-affirming and iconoclastic defense a writer could mount against her own extinction.
The Internet has been abuzz with grammatically incorrect chatter since the New York Times recently published an article heralding the end of the period. But Flavorwire’s Jonathon Sturgeon doesn’t expect that little dot to go anywhere anytime soon:
Bilefsky’s piece — or any long piece without periods — is like a car without brakes.
At the New York Times, Jennifer Weiner writes about her experience with the gendered devaluation of popular fiction:
Somewhere between my birth and my novel’s publication, I’d gotten the message that there were books that mattered and books that did not; writers whom an Ivy League institution would be proud to claim, and those who would be asked for donations, but not invited back to speak.
As a child, I loved it when a book took me somewhere else. I still do, but I’m more surprised and grateful now to be transported by words on a page from one world to another. Perhaps because, as grown-ups, we value what is harder won.
We follow Heffernan through the Smithsonian Natural Museum of Internet History, as she annotates the exhibits: the Kindle, with its lithe design and endless supply of books, usurper of the printed word; the MP3, compressing the rapture and idiosyncrasies of your favorite music, destroyer of the music business and the listening experience; YouTube, standing among the smoldering wreckage of the linear-minded entertainment industries, triumphant in its mesmerizing stunts, obscure clips and unboxing videos.
For the New York Times, Alexandra Alter writes about the Middle Eastern writers finding refuge from the post-Arab Spring disillusionment and chaos in dystopian fiction, speaking with writers like Basma Abdel Aziz, author of The Queue, and Saleem Haddad, author of Guapa....more
For Electric Literature, Tabitha Blankenbiller offers a critique of the recent New York Times article about “Man Book Clubs,” and analyzes how gendered book covers influence readers’ choices and experience:
We can debate the levels of hubris and/or drunkenness in the NYT editorial room all we want, but what we have is an article claiming real estate and resources in The New York Times’ Books section.
A new treatise on the importance of the genre-melting artist has been published by the New York Times, inspired by the New York Public Library’s acquisition of Arthur Russell’s archives.
The acquisition itself is massive, sprawling, and difficult to catalogue, according to the NYT piece:
[It] includes a thousand-or-so reels, cassettes, DATs, Beta and VHS tapes with hundreds of hours of unreleased and probably unreleasable material, representing how Russell made his work—laying down individual tracks, or practicing, or jamming—often in long sessions, and with musicians who may have had little idea what they were working on at the time....more
At the New York Times, Karl Ove Knausgaard describes how Joyce’s Portrait included him in literature’s potential in a way that Ulysses didn’t:
In “Portrait,” Joyce ventures inside that part of our identity for which no language yet exists, probing into the space between what belongs to the individual alone and what is ours together, exploring the shifts of mind, the currents of our moods and feelings as they flow blindly this way and that, and mapping the unarticulated, more or less salient presence of the soul, that part of our inner being that rises when we are enthused and falls when we are afraid or despairing.