When Jonathan Lethem’s The Fortress of Solitude came out, there was much discussion of how the novel paralelled Lethem’s own upbringing in pre-gentrified Brooklyn. Now we’re getting the real Lethem story for those who want to compare and contrast. It arrives in the form of a book of essays, The Disappointment Artist, which comes out in two weeks. An excerpt, which depicts a young Lethem immersed in obsessions with books, movies and music while trying to come to turns with his mother’s death appeared in last week’s New Yorker (but it’s not available online). I’m beginning to wonder if this exercise in autobiography (with the New Yorker as the stage) has become a rite of initiation for American novelists who have made the big time. Most prominent among them is Jonathan Franzen, who has had a number of meandering autobiographical essays in the magazine over the last few years. I wonder what drives the phenomenon. Do people really want to know about their lives or are these novelists just good at telling a story?
Jonathan Lethem gets Autobiographical
Elias Canetti’s Words Against Death
The marks on the page are the opposite of the marks on the tombstone.
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Lilly Dancyger Is Rethinking the Ethics of Memoir
"I do think that we, as writers, owe things to the people in our lives that we care about."
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Against ‘Latin American Literature’
The classification of “Latin American literature” puts both Anglophone and Hispanophone writers in a double-bind.
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What Millions Readers Are Reading (Vol. 1)
We asked about the books you're currently reading. You answered.
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Why Write Memoir? Two Debut Authors Weigh In
"It was hard on many levels, and I had to keep going back to why I was writing in the first place."
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“You Can Almost Hear the Ghosts”:
Valeria Luiselli on Juan Rulfo
"Rulfo travels in time and space with an absolute freedom without us getting lost."
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