“Many people who call themselves very patriotic, even nationalist, leave [Ukraine], while the people who are actually protecting it are the common people.”
In contemporary fiction, “literary evil” has been replaced by “neurotics, malingerers, failed imposters”—but what are the consequences of this indifference to evil and the assumed moral neutrality?
“Why do we want our characters to be innocent, as if we are innocent ourselves?”
“What would a successful war novel look like? This question concealed a deeper question I had: What would a truthful Kashmir novel look like?”
Maybe we have something to learn from their proclivity for the irreconcilable, unruly, and open-ended.
Public Books and the Sydney Review of Books have partnered to exchange a series of articles with international concerns.
Rushdie’s fifteenth novel casts doubt on the very production of historical knowledge.
Despite the fact that Hindi is the language of more than 400 million people, Hindi fiction is rarely translated.
In the blurb-saturated present, authors can decry blurbs as corrupt and silly all they like. When they publish new books, however, they will be conscripted to marketing duties, obliged to solicit blurbs, and most will provide glowing snippets to hype their friends and colleagues too.
Does the author-read audiobook offer a perfect confluence between person, authorial persona, voice, and aesthetic form?
“Throughout Franzen’s life in public, he has figured himself as embattled, enemy-beset.”
“If I’m honest, I never came back to Chile, at least not to the country of my early childhood, an inferno in which I was happy.”
Is there a writing life than can safely dispense with categories like identity and commitment, which count so much in how we live now?
"He regarded with skepticism and clarity the temptations to make racial identity the foundation of our humanity."
How to interpret Coleridge’s voluminous patchwork of triumphs, fragments, stolen snippets, and unrealized plans? Does any larger pattern emerge?
In 1937, a newspaper trumpeted two speculative fiction stories—“Black Internationale” and “Black Empire”— as dramatically as if they were news.
What can readers learn from five centuries of circumnavigation?
“So I must begin again, when I only have months left to write it.”
“In a world where the imagined purpose of the novel is to entertain—not to teach or spark further inquiry—The Last Samurai dissents.”
“Let it become the thing that leads you through your days for years on end—just allowing that problem to live in front of you and to guide you.”