Essays Archives - Page 73 of 88 - The Millions
November 25, 2009
by Edan Lepucki
The writers highlighted by Publishers Weekly certainly deserve our attention, but the kind of attention they got, I fear, is a reminder that they use the men’s room.
November 23, 2009
by Sonya Chung
On the violence of Richard Yates’s dialog, the failures of human speech in everyday life, and the silent togetherness of man and dog.
November 20, 2009
by C. Max Magee
In a literary world where writers are playing the lottery against the longest of odds, Oprah was the winning ticket. But in less than two years, the ultimate book publicity coup will be off the table.
November 19, 2009
Köhler’s subjects ranged from Michael Jackson to Charles Bukowski and his experimentation with many startlingly different techniques and media in his portraiture, as well as his often exquisite pairings of style and subject, give his work an arresting and distinctive expressiveness.
November 17, 2009
These two publishing phenomena, one situated at each end of the history of the novel, are–by a certain cynical reading–the same book, the same archetypal female fantasy. And they are not love stories: they are stories about class.
November 16, 2009
If a Bolaño backlash materializes, it will mark a revolt not against his books, but against a particular narrative being spun about them. With a tendentious but seductive account of the experience The Savage Detectives offers U.S. readers, “Bolaño Inc.” provides the perfect cover story for those who can’t be bothered to do the reading.
November 9, 2009
Grouping writers according to their countries of origin or of citizenship seems strangely arcane. These just don’t seem like useful divisions, especially in the case of fiction.
November 3, 2009
Much of the discourse about sports is couched in a conservative ethos, regardless of the political inclinations of those in the dialog. But the internet has changed what it means to be a fan.
October 30, 2009
Hearing the echo of writers talking of their difficulties and triumphs with writing can provide the consolation and inspiration it takes to toil on, such as knowing that Orhan Pamuk “work[s] like a clerk” or that even Paul Auster feels stupid sometimes.
October 23, 2009
The author of The Gift turns to Founding Fathers, copyright, and the creative commons. So why hasn’t anyone noticed?