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Welcome to Vox’s weekly book link roundup, a curated selection of the internet’s best writing on books and related subjects. Here’s the best the web has to offer for the week of May 19, 2019.
- At LitHub, Brandon Taylor considers when to protect his characters and when not to:
Another thing about that first workshop was that I heard something about myself that I had never heard before: that my story was protective and civilized and carefully managed. These to me seemed the primary virtues of fiction that I loved and that I wanted to write. There’s nothing I want more than peace and order. I had a difficult life. A strange life. And so in turning to fiction, I wanted to create for my characters a space where the urgent material of their lives would not contain the question of whether or not they would live or die. I wanted to write about people moving through the world who could count on more time, who didn’t have to confront the ugliness of violence and harm and malevolence. I wanted only to make for my characters a space where they could be. I left the workshop that night feeling like I had been struck by lightning. I was angry and ashamed.
- Also at LitHub, Adam Ehrlich Sachs explains the lessons he learned about being a good literary citizen from Gottfried Wilhelm Leibniz, the 17th century German philosopher and the main character of Sachs’s new book:
Become a literary citizen of the world. Spend time in a foreign literary community by hatching an insane plot to launch a new Holy War against the infidels of Egypt, a plot so deeply deranged that when you finally manage to present your plan to Louis XIV, a king who enthusiastically led France into four major wars, he’s so appalled by the idea of a new crusade that he literally responds, “I have nothing to say.” Do all of this just to live in Paris for a bit.
- At Vanity Fair, Joe Pompeo considers what it means that the New York Times has turned into a “book deal factory” as its star reporters continue to land publishing contracts:
“I don’t think the Times has ever seen this number of requests,” a veteran editor concurred, adding, “For department heads, it’s become almost impossible to manage.” The glut of big newsy projects that require essential beat reporters to take book leave is especially tricky. For one thing, there’s always concern among editors about balancing reporting that’s exclusive to books with reporting that can be published in the Times. More practically, as another Times journalist put it, “It’s kind of made the editors stand up and realize, holy shit, we have all these people writing books, and that’s an awful lot of man- and woman-power off the daily report in a pretty significant way.”
- At the New York Times itself, Sophie Haigney explores the secret world of decorative bookselling:
Books can be aesthetic signifiers, colorful set pieces of sorts, their spines telegraphing a certain gravitas — or a certain playfulness, depending on how they’re arranged. “I like to compare physical books to candles,” Mr. Blackwell said. “Light bulbs do the job, but there’s a strong aesthetic of a candle that puts soul into a room. Books do that, too. They create theater and drama.”
- Atlas Obscura turns back the cover on a book safe that conceals a “poisoner’s lab.” Sadly (or fortunately!) they think it’s probably a Victorian fake:
It is lined with red, marbled paper. On the inside cover, two skeletons hold a banner reading: “Statutum est hominibus semel mori,” or “All people are destined to die once.” It’s Hebrews 9:27, and it wouldn’t be nearly as ominous if it wasn’t next to 10 little drawers labeled with names of poisonous plants, and a mirrored shelf holding several little glass bottles.
The compartments bear the German names for hemlock, wolfsbane, foxglove, and more—all lethal, properly administered—and the suggestion seems to be that the little vials are there for a would-be poisoner to mix up their own deadly cocktails.
- At the New York Times, Elena Ferrante considers storytelling as a form of power:
Stories give shape to experience, sometimes by accommodating traditional literary forms, sometimes by turning them upside down, sometimes by reorganizing them. Stories draw readers into their web, and engage them by putting them to work, body and soul, so that they can transform the black thread of writing into people, ideas, feelings, actions, cities, worlds, humanity, life. Storytelling, in other words, gives us the power to bring order to the chaos of the real under our own sign, and in this it isn’t very far from political power.
- At the Nation, Elizabeth King delves into why fascist groups keep targeting bookstores:
Of course, bookstores sell books, but these shops often serve other purposes as well. Leftist bookstores in particular commonly act as multipurpose spaces for local activists as well as stops for progressive and leftist authors’ book tours. In some smaller towns, these bookshops can be neighborhood or even city strongholds for locals who may not have many other places to safely and comfortably organize, or even just hang out. Bookshops that are not expressly political in their mission still frequently host authors whose work is political, and thus when these authors are targeted, often bookshops are as well.
- And at LitHub, Emily Waples wins headline of the week with “As a Teacher of Gothic Lit, I Should Have Known Better Than to Move into a Haunted House:”
This is the problem with white people, as Eddie Murphy assesses it in his 1983 standup comedy special Delirious: we stay in haunted houses, like idiots. We don’t heed the warnings; we don’t read the signs. In pursuit of the American dream of homeownership—the middle-class domestic ideal, the manicured lawn, the 30-year mortgage and its promise of equity and upward mobility—we colonize spaces, nominally vacant and hauntingly occupied, as if we belong there. As if it is our right.
Here’s a rundown of the past week in books at Vox:
As always, you can keep up with Vox’s book coverage by visiting vox.com/books. Happy reading!
