All the books are now 60% off, but Andrew McKinley, among the kindest and most generous bookstore owners on earth, will still try and make you pay even less. Peter Orner on Adobe Books in The Rumpus
Monday, December 24, 2012
Saturday, December 22, 2012
The right structure and the right question is: “How do you make your family hungry?” from A Simple Way to Create Suspense by Lee Child in NYT via Jessica Stanley.
Tuesday, December 18, 2012
Another recent encounter has been Joyce’s “The Dead,” which I’ve read many times. It needs to be considered as a novella, the perfect novella, entirely separate from the rest of “Dubliners.” An annual winter party; afterwards, a scene of marital misunderstanding and revelation in a hotel room; a closing reflection on mortality as sleep closes in and snow begins to fall — I’d swap the last dozen pages of “The Dead” for any dozen in “Ulysses.” As a form, the novel sprawls and can never be perfect. It doesn’t need to be, it doesn’t want to be. A poem can achieve perfection — not a word you’d want to change — and in rare instances a novella can too.
Do you have a favorite literary genre?
The novella. See above.
Do you read poetry?
We have many shelves of poetry at home, but still, it takes an effort to step out of the daily narrative of existence, draw that neglected cloak of stillness around you — and concentrate, if only for three or four minutes. Perhaps the greatest reading pleasure has an element of self-annihilation. To be so engrossed that you barely know you exist. I last felt that in relation to a poem while in the sitting room of Elizabeth Bishop’s old home in rural Brazil. I stood in a corner, apart from the general conversation, and read “Under the Window: Ouro Preto.” The street outside was once an obscure thoroughfare for donkeys and peasants. Bishop reports overheard lines as people pass by her window, including the beautifully noted “When my mother combs my hair it hurts.” That same street now is filled with thunderous traffic — it fairly shakes the house. When I finished the poem I found that my friends and our hosts had left the room. What is it precisely, that feeling of “returning” from a poem? Something is lighter, softer, larger — then it fades, but never completely.