Robert Coover: “A lot of what I do engages with the American myth. There’s nothing necessarily wrong with myths: we tend to need some sort of sustaining mythic notion or pattern or vision in order to get through each day. We need a little bit of structure to get out of bed, to keep going. But most of it is stifling, in some way corrupting. So, the challenge I always have in my work is to unmake the myth.”
A reference librarian at Gallaudet University, a premier school for the deaf in Washington, D.C., on the deaf protagonist of Carson McCullers‘ The Heart Is a Lonely Hunter: “He is a surprisingly sympathetic deaf character, given that this novel was written in 1940, which was not a period in which deaf people were understood and accepted in mainstream society. His deafness—or at least muteness—appears to be a device that allows him to work as a “blank slate” on which the other characters project their own understandings of his responses—or lack thereof—to their needs.”
Tales from Norman Mailer‘s Brooklyn lair.
Rachel Syme asks what would constitute a revival of 90s books. You could make a small shelf of what you might call alt-rock lit, including Pagan Kennedy‘s The Exes; Bruce Thomas‘ The Big Wheel, a roman a clef about his bandmate Elvis Costello; and, of course, Nick Hornby‘s High Fidelity, increasingly an artifact from the time when record stores were cultural hubs.
Nelson Algren to a student: “Reading this was like trying to nap when somebody is pushing a lawn mower back and forth under your bedroom window.” Related: Chicago magazine’s Whet Moser unearths a 1988 feature on Algren chronicling his last days in Sag Harbor, where he lived—not particularly happily—in the orbit of Peter Matthiessen, Kurt Vonnegut, and Betty Friedan.
“[Paul] Auster has even published six of his novels in Danish before they appeared in his native English.”
Victoria Best writes on how Willa Cather‘s books were co-opted by critics for their own purposes, and adds some excellent additional thoughts on the role of the critic in general.
Mark McGurl versus Elif Batuman on MFA programs, with additional thoughts from D.G. Myers and Seth Abramson. Questions of historical accuracy and needless snark aside, I’m struck by this bit from McGurl: “[P]art of my motive for adopting this position [that postwar fiction is the richest and most multifaceted body of fiction available], at first, was that no one else has ever wanted to occupy it. Some instinct told me that praise would, in this case, be a more powerful critical instrument than blame, troubling my colleagues in creative writing (What, he doesn’t hate us? What’s up with that?) just as much as it would the members of my own uncreative tribe, the literary scholars, for whom contempt for the discipline of creative writing had become lazily automatic.” McGurl later expresses actual respect and admiration for the stuff, but to say you like something because it is “rhetorically strategic” to, even in part, seems disingenuous. (I haven’t read The Program Era, so I don’t know if that attitude works its way into the pages of the book itself.)
Richard Ford: “Michigan is the place we think of when we think about work in America. It’s where people stick a thermometer when they want to take the temperature of the economy and understand how people are getting along.” Recommendations of great Michigan fiction welcome. (via)