Joyce Carol Oates: “Virtually all of my novels depict crimes—from a perspective of the tragic rites of sacrifice, redemption, and the passing of the old order—that is, an older generation—to the new order—the younger generation. It’s somewhat unusual that a novel of mine, like Blonde, is purely tragic, without any apparent hope of redemption.”
The voices in Shalom Auslander‘s head.
Grand Street editor Ben Sonnenberg, who founded the literary magazine in 1985 “to follow the model that the New Yorker once provided and fell away from—to be informative and insolent”—has died at 73.
Andrew Seal is beginning a series of posts on John Dos Passos‘ U.S.A. Trilogy—valuable for folks like me who only got through The 42nd Parallel in high school and who have since forgotten most of it.
The opening pages of William Styron‘s Sophie’s Choice might serve as the great Brooklyn novel. (via)
This year’s William Faulkner conference at the University of Mississippi will focus on his screenplays and movies adapted from his work. (Apparently not on the docket for some reason: The Reivers, a 1969 Steve McQueen vehicle that scored two Oscar nominations.)
Meanwhile, an attempt to connect Faulkner and Scott Turow. Not buying it. (via)
How Prague’s literary culture started in Louisville, Kentucky.
Rick Moody on the difficulty of putting Walt Whitman‘s words to music: “The only challenge is, it’s freaking hard to set the lines because there’s no meter…. Why couldn’t they do a Dickinson event? Those could all be sung to ‘The Yellow Rose of Texas.'”
In connection with a Lush Life-themed exhibition taking place in Lower East Side galleries, Richard Price talks about the neighborhood and his perspective on the art world, putting in a plug for The Horse’s Mouth as “the Citizen Kane of artist movies.”
Was the food writing in American Psycho ahead of its time?
Colum McCann finally has time to make progress on a new novel.