Fall is the time for “big books,” whatever the page length, and some of the top fiction authors from around the world have new works coming, including Ian McEwan, Zadie Smith, Margaret Atwood, T. Coraghessan Boyle, Rabih Alameddine, Emma Donoghue, Jonathan Safran Foer and Michael Chabon. Ann Patchett, owner of Parnassus Books in Nashville, Tennessee, looks forward to selling Jacqueline Woodson’s autobiographical novel “Another Brooklyn” and Colson Whitehead’s celebrated, Oprah Winfrey-endorsed historical novel about slavery, “The Underground Railroad.”
From a new novel by Julian Barnes to the film of The Girl on the Train, from the most hotly tipped debuts to Henning Mankell’s farewell essays – everything you need to know about the literary year ahead
In an era when it’s impossible to open a web browser without stumbling across another “Is television the new novel?” piece, we couldn’t help but wonder, Carrie Bradshaw-style, just what our favorite writers watch in their spare time.
See what shows the following authors like:
- Zadie Smith
- S.E. Hinton
- Lorrie Moore
- Stephen King
- Bret Easton Ellis
- Salman Rushdie
- Roxane Gay
- Neil Gaiman
- Margaret Atwood
- Joyce Carol Oates
And since not all of these writers are from the U.S., here’s an opportunity to learn about some television shows you may not know.
Separate FOIA [Freedom of Information Act] requests by the Daily Beast and MuckRock unearthed Bradbury’s files in 2012. Though they received some coverage at the time, Boing Boing, the Register, and MuckRock have discussed the documents this week, focusing to their charming anachronisms and other period peculiarities. Ultimately, however, those documents stand out most for what they reveal about the state of science fiction today.
Jacob Brogan here takes a quick look at what informants had to tell the FBI about Bradbury and his writings back in the 1950s and 1960s. Despite fears that science fiction might become “a lucrative field for the introduction of Communist ideologies,” Brogan asserts that Bradbury’s popular success was not driven by any ideology, “a communist one least of all.” Instead, Brogan writes, science fiction has always been about looking at what’s wrong with the world and imagining how to make it better.
“Science fiction’s latest controversies” referred to in the article’s title involve division in the ranks of science fiction writers and award judges, some of whom see “an elitist wave of liberal propaganda” overtaking the genre. This article includes lots of links to more material about these controversies on the web for those who wish to delve further into the issues.
But, Brogan reminds us, the FBI documents pertaining to Ray Bradbury are
important reminders that science fiction invites us to see and think in new ways. It’s not always ideologically inclined, but it has rarely strayed far from the political.
Here Scott Timberg talks with Le Guin, a grand dame of both science fiction and fantasy, about her newly issued book on writing, Steering the Craft: A 21st Century Guide to Sailing the Sea of Story. A significantly revised version of a work originally published in 1998, this book, Timberg says, “is not something any aspiring fiction writer should ignore.”
Steering the Craft originated in a workshop about the nuts and bolts of writing that Le Guin conducted for writers in the 1990s. She said that a lot of writers didn’t “have the vocabulary of the very elements of [their] work – which is how the English language is put together, and what constitutes a sentence and a non-sentence and so on.”
Read the rest of the interview—it’s short—to find out why she thinks writers should read the work of Virginia Woolf and why she is “a little bit suspicious of the MFA program” as a way for writers to practice their craft.
OK, Sonny Mehta is not a novelist, but as editor in chief of the Knopf publishing house, he’s deep into the world of books and writers.
In this short piece Dave Eggers profiles Mehta, for whom “the unique delight in discovering a great unpublished work hasn’t diminished.”
Novelist E.L. Doctorow, who died recently, participated in this interview with George Plimpton that was published in the winter 1986 issue of The Paris Review.
Here’s a quotation from Doctorow that I particularly like:
One of the things I had to learn as a writer was to trust the act of writing. To put myself in the position of writing to find out what I was writing… . The inventions of the book come as discoveries. At a certain point, of course, you figure out what your premises are and what you’re doing. But certainly, with the beginnings of the work, you really don’t know what’s going to happen.
Read the interview to learn how the oral history movement influenced Doctorow’s presentation of the protagonist in World’s Fair, how staring at the wall of his study lead him to the topic of Ragtime, and how he feels about the sufferings of writers.
The interview was held in front of a live audience at the 92nd Street YMHA in New York City. This transcript ends with questions asked by members of the audience.
For more than 50 years now, Le Guin has used incisive critical writing and visionary, psychologically rich fiction to challenge orthodox beliefs—about gender, politics, religion, art—and generally emerged victorious. Far from mellowing her, age has only deepened her willingness to angle after the biggest fish in the pond.
Taylor Clark piece for Portland Monthly magazine features Portland, OR, writer Ursula K. Le Guin, whom Taylor characterizes as “indisputably a Portland writer, perhaps the Portland writer.” Born in Berkeley, where she attended high school with Philip K. Dick, she moved to Portland with her husband in 1958 when he took a position at Portland State University. She wrote a lot while her children were small but without much success. But in the mid 1960s she began a career of publications that “radically broadened our conception of what science fiction could do.”
In works like her 1969 breakthrough novel The Left Hand of Darkness and the “great, transfixing masterpiece, 1974’s The Dispossessed,” Le Guin “relentlessly turned sci-fi’s trappings into innovative new avenues to plumb deeper human conflicts.” But she has written in many other genres as well: poetry, children’s books, mainstream fiction, criticism, translations, and essays.
Read the article to find out why, today, Le Guin’s main concern is the treatment of literature as a commodity rather than as a form of art.
Unsparing, ambiguous, violent, and largely indifferent to the reader’s needs, Purdy’s fiction seems likely to remain an acquired taste. But it is a taste worth acquiring.
Writing in The New Yorker, Jon Michaud discusses the fiction of James Purdy (1914–2009). Here’s why Purdy’s fiction is an acquired taste:
In his novels and short fiction, possibility and potential are always compromised. There is neither transcendence nor transformation. His characters do not grow or develop; they dwindle and unravel. Purdy saw Hawthorne and Melville, “two other Calvinists,” as his literary antecedents, and it is not hard to interpret some of Purdy’s protagonists as latter-day incarnations of Billy Budd and Young Goodman Brown: guileless innocents abused by the world’s depraved sinners.
Nonetheless, publisher Liveright last year released a collection of Purdy’s short stories, and this year they are republishing three of his novels, including Eustace Chisholm [and the Works], which, according to Michaud, “is probably the peak of Purdy’s career, the book of his to read if you’re only going to read one.”
An interview with actor Jason Segel, who plays the late author David Foster Wallace in the movie “The End of the Tour.”
The film The End of the Tour is a dramatization of Rolling Stone journalist David Lipsky’s five days spent with writer David Foster Wallace at the end of Wallace’s book tour promoting his novel Infinite Jest. Wallace, who struggled for many years with depression, took his own life at age 46.
When actor Jason Segel read the screenplay for the film, he thought he didn’t have a chance at getting the part. But director James Ponsoldt wanted an actor who could portray Wallace’s humor, and he found in Segel a “thoughtful actor who understood comedy.”
Segel then began his own tour of Wallace’s works. He watched the tapes of Lipsky’s interviews with Wallace and read Wallace’s essays. But for Wallace’s masterpiece, the tome Infinite Jest, Segel formed a book club:
“We did 100 pages a week,” Segel remembered, smiling. “It was one of the best experiences of my life.” The vast, experimental and thoroughly literary novel “is the most personal of [Wallace’s] works — he’s every one of the characters.” Segel described it as exploring themes of “pleasure, entertainment, achievement. It was David Foster Wallace trying to express a very fundamental crisis — we’ve been told that these things will satisfy us.”
“I hope the movie is an extension of the themes that he [Wallace] expressed,” Segel said. “It was approached with a lot of empathy and love.”
There’s good news for fans of Lisbeth Salander, the unstoppable hacker featured in the books known as Stieg Larsson’s Millennium trilogy. With the blessing of Larsson’s family, and despite criticism from his long-time partner Eva Gabrielsson, Swedish writer David Lagercrantz has finished the partial fourth novel in the series left on Larsson’s laptop at the time of his sudden death.
Scheduled to be released on August 27, the book’s title is The Girl in the Spider’s Web. Recently the book’s Swedish publisher, MacLehose Press, released what it called “key details” in the novel’s plot. It would be unfair of me to steal The Guardian’s thunder, so I’ll only quote here that the book features a “criminal conspiracy [that] will very soon bring terror to the snowbound streets of Stockholm, to the Millennium team – and to Blomkvist and Salander themselves.”
Click that link and read the (little) further description of the book whose storyline has been a carefully guarded secret.
I have finished reading Harper Lee’s newly released novel Go Set a Watchman and am collecting my thoughts. I read it slowly, taking copious notes. Probably like most people, I tried to read it in two mutually exclusive ways simultaneously: both with and without To Kill a Mockingbird as a touchstone. Figuring out how to evaluate it most fairly is indeed a conundrum.
While still working on my own discussion of the book, I offer you a compendium of articles that I began assembling a day or two before the publication date of Watchman, July 14. I have not read most of these pieces because I want to come to my own conclusions first.
I’m sure that there are spoilers galore in many of these articles, so I leave it up to you to decide whether to tackle these pieces before you read the novel for yourself or to wait until later.
I don’t claim that this list is exhaustive. I’m sure there are many other articles out there, but these are the ones that I’ve come across.
Publishers Weekly comments on early reviews of Go Set a Watchman, including those in the New York Times, Washington Post, and The Guardian. Includes links.
From Publishers Weekly:
From midnight release parties, to film screenings, to daylong read-a-thons, check out our photos of how bookstores around the country rang in the on-sale date of Harper Lee’s Go Set a Watchman, the biggest publishing event of the year.
The revelation will probably alter readers’ views of “Mockingbird,” a beloved book that has sold more than 40 million copies globally and has become a staple of high school curriculums. It could also reshape Ms. Lee’s legacy, which until now has hinged entirely on the outsize success of her only novel, published 55 years ago.
Entertainment Weekly gives the novel a grade of D+. And most of the commenters seem to agree.
Tonja B. Carter, Harper Lee’s attorney, is changing her story.
More as the plot continues to thicken:
Harper Lee’s lawyer Tonja Carter, the woman at the centre of the mysteries surrounding Go Set a Watchman’s publication this week, has broken her silence. In a lengthy piece in the Wall Street Journal, she intimates that there may be a third novel by Lee residing in a safe-deposit box in her home town of Monroeville, Alabama.
Harper Lee’s lawyer, who negotiated the deal over this week’s controversial launch of Go Set a Watchman, was allegedly far more intricately involved in searching for the manuscript years ago than previously disclosed, the Guardian has been told.
The story of how Therese von Hohoff Torrey — known professionally as Tay Hohoff — guided Harper Lee through a two-year revision process that eventually turned Lee’s original manuscript into To Kill a Mockingbird.
Several writers reflect for Publishers Weekly on how To Kill a Mockingbird “affected everything from their ideas about race and humanity to their choice of profession.”
From the New Republic:
This piece is the first in a three-part series we’ll be publishing this week on Harper Lee, To Kill a Mockingbird, and Lee’s new novel, Go Set a Watchman.
This post is part of our Harper Lee Reading Day: a celebration of one of the most surprising literary events of our lifetime, the publication of her new book, Go Set a Watchman.
On this page you’ll find a link to other entries in this series on Bookriot.
In this piece Jessica Tripler describes her hesitancy to jump into the new book because “I personally question whether Lee is capable of consenting to or understanding what is going on.”
This article itself is a compendium, with excerpts from major reactions to the novel from sources including the New York Times, The Guardian, and NPR.
From the Wall Street Journal, a consideration of how teachers must revamp their lesson plans about To Kill a Mockingbird in light of Go Set a Watchman.
From the New York Times, a good companion piece to the Wall Street Journal article:
Fans of Harper Lee’s “To Kill a Mockingbird” — a book widely read by students in the United States — are reeling from the revelations that a beloved character, Atticus Finch, is portrayed as a racist in Lee’s recently released second novel, “Go Set a Watchman.”
For many teachers, this presents a conundrum in how the fictional character is taught in classrooms. How will the new book affect or change the way “To Kill a Mockingbird” is taught in middle and high school English classes?
This is the introductory page that links to discussions written by several people.
Megan Garber for The Atlantic:
Go Set a Watchman is a threat not just to readers’ heroic idea of Atticus Finch, but also to the many, many children who have been named in his honor.
In an op-ed this week in The Wall Street Journal, Lee’s attorney, Tonja Carter, hinted at a third, as-yet-unpublished novel. And a friend of the author, who is also a professor of history at Auburn University in Alabama, spoke to CNN about a possible fourth book.
This possible fourth book is supposedly a nonfiction study of Rev. Willie Maxwell, who was suspected in the deaths of various relatives.
Amy Weldon, a native of Alabama, a fiction writer, and a professor of English at Luther College in Iowa, discusses the writing process by looking at Watchman as an early draft of Mockingbird.
An opinion piece by Osamudia R. James, professor of law at the University of Miami, where she writes and teaches about education, race and the law, and identity.
This [Atticus Finch] is a perfectly acceptable hero, living and breathing in the kind of fictional world that many people, including myself, prefer. The problem is that Lee can’t have it both ways. Mockingbird is on a different literary plane than Watchman, and the two can only meet awkwardly, which is precisely what HarperCollins has demonstrated by grafting Watchman onto Mockingbird. They cannot work together in any meaningful sense; one cannot cast a new light on the other, except in the way an apple sheds light on an orange by being, well, different.
Of the top 35 books listed here from the Reddit responses, I have read the following:
- Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig
- Man’s Search for Meaning by Viktor Frankl
- Bartleby The Scrivener: A Story of Wall-Street by Herman Melville
- East of Eden by John Steinbeck
- How to Win Friends and Influence People by Dale Carnegie (hey, it was a requirement of my psych 101 course in college)
- Crime and Punishment by Fyodor Dostoyevsky
- The Stranger by Albert Camus
- The Handmaid’s Tale by Margaret Atwood
- Anne of Green Gables by L.M. Montgomery
Fahrenheit 451 by Ray Bradbury
- To Kill A Mockingbird by Harper Lee
- Animal Farm by George Orwell
- All Quiet on the Western Front by Erich Maria Remarque
Catch–22 by Joseph Heller
- Slaughterhouse Five by Kurt Vonnegut
- The Hitchhiker’s Guide to the Galaxy by Douglas Adams
- Flowers for Algernon by Daniel Keyes
- 1984 by George Orwell
That’s fewer than half. How depressing.
In my defense, though, I do have several of the others on my personal to-be-read list:
- Watership Down by Richard Adams
- For Whom the Bell Tolls by Ernest Hemingway
- One Hundred Years of Solitude by Gabriel Garcia Marquez
- The Brothers Karamazov by Fyodor Dostoyevsky
- Dune by Frank Herbert (I have resisted this one for years but have finally decided I should give it a try)
- Do Androids Dream of Electric Sheep? by Philip K. Dick (can’t believe I haven’t read this yet)
So many books, so little time…
Writer Diane Ackerman looks at the relationship between writers and their readers:
Nearly every author I know imagines one or more readers while writing a book. It’s a bloom of creative telepathy. The reader is a part of yourself, held at a distance, and becomes an important sounding board for the tone and language of the pages, an intimate ally.
And how do readers react when meeting authors, for example at a book signing? “Having read your books, readers know you far better than you know them — except that authors aren’t always their books.” She continues, “And just as the author romanticizes the reader, so does the reader romanticize the author.”
In the end, both the writer and the reader—and the interaction between the two—are necessary for a book to be successful:
As an author and reader, I like the idea of reading as an indelible spice that transforms a book while the book transforms you.
In conjunction with the recent Los Angeles Festival of Books, the Los Angeles Times asked five participants to comment on the writers who had influenced them. Here author Amelia Gray pays tribute to Shirley Jackson:
The loners in her books appealed to me, the fragile and friendless women in worlds built to appear ordinary that always revealed a more sinister nature.
This article contains links to lots of related coverage of the Festival of Books.
Writers and artists have long been fascinated by the idea of an English eerie – ‘the skull beneath the skin of the countryside’. But for a new generation this has nothing to do with hokey supernaturalism – it’s a cultural and political response to contemporary crises and fears
Robert Macfarlane has written a fascinating look at how the English landscape continues to be used artistically to represent the eerie:
that form of fear that is felt first as unease, then as dread, and which is incited by glimpses and tremors rather than outright attack. Horror specialises in confrontation and aggression; the eerie in intimation and aggregation. Its physical consequences tend to be gradual and compound: swarming in the stomach’s pit, the tell-tale prickle of the skin. I find the eerie far more alarming than the horrific…
He finds evidence of this eerie use of landscape in many artistic areas:
In music, literature, art, music, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Although some of his references may be lost on those unfamiliar with both the English countryside and English history, his explanations make his meaning clear. He cites examples of such eerie works across literature, film, and art. Many of the current works call up earlier art and artists, from the 19th century forward. Many of these earlier works employed ghosts and corpses as symbolic of the decay underlying the seemingly tranquil pastoral landscape.
But engaging with the eerie emphatically doesn’t mean believing in ghosts. Few of the practitioners named here would endorse earth mysteries or ectoplasm. What is under way, across a broad spectrum of culture, is an attempt to account for the turbulence of England in the era of late capitalism. The supernatural and paranormal have always been means of figuring powers that cannot otherwise find visible expression. Contemporary anxieties and dissents are here being reassembled and re-presented as spectres, shadows or monsters…
Heather K. Gerken, the J. Skelly Wright professor of law at Yale Law School, has written eight novels, and is working on the ninth, that only one person will read:
My daughter is growing up, which means I’m losing her. Anna is 12, all eyes, cheekbones and imagination. Every now and then I catch a glimpse of the glorious 17-year-old just around the corner, and it makes my heart ache with the anticipation of loss.
Gerken started writing the books for her daughter because
I hope to encase Anna in the only form of armor that I trust — stories. I have written Anna as a heroine in the hope that she will feel the tug of her own heroism inside her.
Even though Anna hasn’t yet grown up, she’s now writing her own story, which Gerken takes as a good sign.
You may have never heard of Julie Strauss-Gabel, but you’ve almost certainly heard of one example of her work, the novel The Fault in Our Stars by John Green. Strauss-Gabel is publisher of Dutton Children’s Books.
Amidst all the chest-thumping about the decline of the publishing industry, children’s books have been the bright exception: “In 2014, revenue from young adult and children’s books rose by 21 percent over the previous year, while adult fiction and nonfiction fell by 1.4 percent, according to the Association of American Publishers.”
Strauss-Gable has contributed significantly to the rise of YA (young adult) literature:
Ms. Strauss-Gabel’s unconventional taste and eye for idiosyncratic literary voices have helped her identify and build up some of young adult fiction’s biggest breakout stars.
Many adults now buy and read YA literature:
Adults aged 18 to 44 made up 65 percent of young adult book buyers in 2014, according to a recent Nielsen Books & Consumer survey, and men accounted for 44 percent of young adult book buyers in 2014, up from 31 percent in 2012. And 65 percent of adults buying young adult books reported that they were purchasing the books for themselves rather than for children.
The lawyer for the author Harper Lee, Tonja B. Carter, received notice on Friday that an investigation by Alabama officials into whether Ms. Lee, 88, and confined to an assisted living facility, was manipulated into publishing a second novel has been closed and no evidence of abuse or neglect had been found.
One of the most talked-about books of the summer, Harper Lee’s Go Set a Watchman, has an official cover. HarperCollins unveiled the jacket of the book, with president and publisher of general books Michael Morrison noting that the design “draws on the style of the decade the book was written, but with a modern twist.”
Puget Sound seems to be a center of fandom for what’s often called speculative fiction. For one thing, Tacoma was the home of Frank Herbert, author of the 1965 science fiction classic “Dune.”
In 2015, the calendar is filled with fan functions devoted to science fiction and fantasy from Emerald City Comicon, in Seattle from Friday through Sunday, to Tacoma’s Jet City Comic Show in October
In the Tacoma newspaper The News Tribune, Craig Sailor interviews Brett Rogers, assistant professor of classics at the University of Puget Sound in Tacoma. Rogers “pursues a wide range of subjects that include Homer and classical drama, superhero narratives and ‘Buffy the Vampire Slayer.’”
Rogers and colleague Ben Stevens recently published The Once and Future Antiquity: Classical Traditions in Science Fiction and Fantasy, a book of essays about the links between the ancient classics and present day science fiction and fantasy.
This Friday and Saturday the University of Puget Sound will host a conference that focuses on “all things related to speculative fiction.”
Asked how he defines science fiction, Rogers replied that it’s not just about robots and space travel:
We’re more interested in how science fiction is not product oriented, cyborgs (for example), but process oriented — the way it gets people to think differently and imaginatively about their interaction with the world.
Rogers says he doesn’t believe in rigid definitions for terms such as science fiction, fantasy, and speculative fiction. To Sailor’s question of what science fiction and fantasy allow us to do that regular fiction does not, Rogers replied that many people say they allow us to run thought experiments: If you have different starting premises, how might things turn out differently? Mystery and wonder, a way to explore the unknown, are other aspects of the power of speculative fiction, according to Rogers.
This year is the 50th anniversary of Tacoma writer Frank Herbert’s Dune. Rogers praised Herbert’s ability at creating a complete world: “What Tolkien does with elves and dwarves and dragons, Herbert does with prophetic powers and spice that is mined from the desert planet of Arrakis.” Rogers also says that Herbert plays with narrative structure in the novel in a way that challenges readers’ expectations. By presenting various parts of the narrative from different characters’ points of view, Herbert requires readers to put the various pieces of the story together.
In addition to this weekend’s conference at UPS in Tacoma, the Emerald City Comicon will take place Friday through Sunday at the Washington State Convention Center in Seattle. Tickets for Comicon are sold out.
Mary Ann Gwinn reports that spring used to be a quiet time for publishing, but not any more. Here she lists notable books to be published between March and June, including the following:
- Fiction by Kazuo Ishiguro, Sara Gruen, Toni Morrison, Kate Atkinson, Jane Smiley, Neal Stephenson, Judy Blume, Stephanie Kallos, and Stephen King
- Nonfiction by Robert Putnam, Tony Angell, David Brooks, David McCullough, Val McDermid, Willie Nelson, and Oliver Sacks
The finalists for the prestigious literary award the Man Booker International Prize were announced on Tuesday by the chair of judges, Marina Warner, in South Africa at the University of Cape Town. The Man Booker International Prize recognizes an author’s achievement through a body of work covering the writer’s career. Previous winners include American novelist Philip Roth, Canadian writer Alice Munro, and the late Chinua Achebe.
Here is the list of finalists:
- Mia Couto of Mozambique
- Marlene van Niekerk of South Africa
- Ibrahim al-Koni of Libya
- Alain Mabanckou of the Republic of Congo
- Cesar Aira of Argentina
- Maryse Conde of Guadeloupe
- Amitav Ghosh of India
- Fanny Howe of the United States of America
- Laszlo Krasznahorkai of Hungary
- Hoda Barakat of Lebanon
“This is a most interesting and enlightening list of finalists,” said Jonathan Taylor, chairman of the Booker Prize Foundation. “It brings attention to writers from far and wide, so many of whom are in translation. As a result, our reading lists will surely be hugely expanded.”
The prize is 60,000 pounds, or about $90,000. The winner will be announced in London on May 19.