Posts Tagged: the new yorker
…Nelson Mandela said to him, “You know, when I was in prison, it was you who changed the way I saw the world.” Brink believed that Mandela was “not addressing me in the singular, as an individual, but in the plural, as one of the writers who had shed light on [Mandela’s] course.” Literature “had become one of the torches that guided” the future president.
Mary Norris has a gift for your favorite grammarian in this week’s New Yorker: a detailed account of comma policy from a veteran copyeditor. The magazine is notorious for its meticulous house style (where else do you still see a diaeresis over the word coördinate?), which it owes to Mensa-level punctuator Eleanor Gould and her acolytes....more
At the New Yorker, Rollo Romig examines the unique position of scripture as literary genre through the lens of history, and with the help of Avi Steinberg’s recent nonfiction title The Lost Book of Mormon. Romig moves through a line of (relatively) recent cases when new scriptures have been introduced, mostly in the US, and attempts to figure them into the larger picture of contemporary belief....more
For the New Yorker, Akhil Sharma discusses why Anton Chekov’s Sakhalin Island stands as the best piece of journalism produced in the nineteenth-century....more
The Torres family learned how Christopher died from watching the news the next day. At a press conference, the department’s chief public-safety officer said that two officers had tried to arrest Christopher at home, but, when he resisted and grabbed a gun from one of them, the officers felt that their lives were in danger.
Robert Stone’s fictional universe was vast. The minds of Vietnam vets. Sailors on the open sea. Hidden romances at a prestigious university. But last weekend, one of our better explorers of the darker corners of American life was lost when Stone died at the age of 77 from chronic obstructive pulmonary disease....more
Kidd designs books by James Ellroy, Cormac McCarthy, Oliver Sacks, and many other top-tier contemporary authors.
For the New Yorker’s “Inner Worlds,” Colum McCann writes about his father’s writing shed, and Teju Cole shares his experience of watching (and rewatching) Krzysztof Kieślowski’s “Red.”...more
Along with the other onslaught of reactions to The New Republic’s mass resignation, George Packer offers his own response at the New Yorker, suggesting that the “collapse” (along with the recent Rolling Stone debacle) shows a “crisis” in journalism:
The crisis in journalism is a business crisis, and it’s been going on for twenty years; the outcome remains far from obvious.
I have fairly clear recollections of writing the book—the room, the desk, the painting on the wall, the feeling that after two years of work (of an eventual four years) I now considered myself a novelist[.]
Stephanie Lacava had a fax exchange with Don DeLillo prior to the auctioning of an author-annotated copy of Underworld....more
Following the grand jury decision not to indict Darren Wilson for shooting and killing Michael Brown, Edwidge Danticat reflects on the overwhelming occurrence of police brutality against people of color:
Today, one might generously refer to such acts as micro-aggressions. That is, until they turn major, until they turn deadly.
If the lists are to be believed, the only good new writers are under 40. It’s not just Buzzfeed, but also the New Yorker, Granta, and others who publish lists of great new—and young—authors. Joanna Walsh takes issue with this trend over at the Guardian:
Sometimes the literary bitcoin is just life: some people have more to say aged 50, than at 30; for others it’s the opposite.
In anticipation of his memoir, Whipping Boy, Allen Kurzweil shares a condensed version at the New Yorker: his forty-year search for a boy who bullied him in a Swiss boarding school.
Story|Houston published a beautiful story this week in their Fall 2014 issue, all of which centers around the theme of family, functional or otherwise. “Termites” tells the story of Tamara, aka Tam or Tam-Tam, a youngish woman living in and trying to take care of/sell her family’s childhood home on Staten Island....more
At Flavorwire, Jonathan Sturgeon continues the “literary” and “genre” war, offering a new perspective grounded in the marketplace:
So what’s really going on here? Well, it isn’t the genre of prose that has literary novelists anxious. It’s the market status of genre novels.
Upon entering the cathedral for the small induction ceremony, attendees were greeted by two gigantic, sparkling sculptures suspended from the ceiling—they are phoenixes, part of an installation by the Chinese artist Xu Bing, but at first glance you might mistake them for peacocks, like the ones that O’Connor raised on her family’s Georgia farm, Andalusia.
Think of the most complicated and intriguing people you have ever met. Think of the way it feels to return to those people again and again, each time finding some new facet of truth, beauty, insight, originality. Michael Cunningham’s “White Angel” is a story like one of those people. First published in the New Yorker in 1988, the story later grew into Cunningham’s 1990 novel and the 2004 movie, A Home at the End of the World....more
Coming across a fiftieth anniversary edition copy of Shel Silverstein’s The Giving Tree, Ruth Margalit examines, for the New Yorker, the meaning of this book, especially in the context of the rest of the writer’s work:
… it’s difficult to know whether Silverstein, who died of a heart attack in 1999, after keeping out of the public eye for more than two decades, meant for us to read the book so conclusively.