At Bookforum, Rebecca Donner talks with former Granta editor John Freeman about his new book of interviews, How to Read a Novelist. Freeman says that he enjoys interviewing writers in their homes because it allows him to observe them more closely: “The writer thinks you’re taking notes about what he’s saying, but you’re really writing, ‘His head looks like a lion’s head.’”
So why is GONE GIRL scary rather than kooky? Primarily the characters’ apparently everyday behavior—their motivations and how they view one another. Amy and Nick do not resemble actual people so much as grotesquely smiling masks driven by forces of extreme artifice, and it’s exactly that extreme artificial quality that’s frightening to the point of sickening.
"Some critics have called Flynn’s portrayals of women misogynist, but to me it seems like she’s just amplifying an attitude that’s shoved in front of us all the time—on TV, online, in countless tabloids, which are constantly informing us that some woman is “humiliated” because her husband “cheated” or because she gained weight or because, after being dumped, she had the nerve to get drunk and dance in public, that is, because she did not have absolute control over herself or the behavior of her man, and is therefore a legitimate object of derision or pity or both."
Eagleton copes with his problem—that he’s retailing clichés throughout—by repackaging them. Most of the time, he does so in a pedestrian way. So we hear that the qualities we most value in daily existence are ‘strength, heroism, glamour, spectacle, self-discipline, stamina, recklessness, a winning spirit, a consuming desire for wealth and ferocious competitiveness.’ We’re also reminded of America’s ‘hunger for progress, achievement, expansion, advancement, possession, consumption.’
Jim Agee: tall, darkly handsome. Prematurely melancholy in a manner both pretentious seeming and deeply real. A great talker, a great (which is to say, bad) drinker, an expert at accentuating or cloaking his southern roots, as occasion demanded. Possessed of as much talent—if by ‘talent’ we mean sheer wattage of verbal combination—as anyone in his generation, a talent that he was on his way either to wasting, if you hold with his latter-day detractors, or to fulfilling, in some necessarily fractured way.
BOOKFORUM: What can you say about the book, by the way?
WELLS TOWER: Maybe just this: it will concern a family and it will contain a good number of pages.
For a novelist, writing letters is writing that is not writing … But a collection of letters is the unconscious narrative the author generates over the years.
Hip Figures begins and ends with the 2008 election of Barack Obama—a landmark moment in the politics of race and hipness alike. In ideological terms, however, Szalay notes that Obama shares many points of affinity with his Democratic predecessor, Bill Clinton; like Clinton, he observes, Obama embodies a brand of neoliberal hip—with the obvious additional advantage of actually being our first black president, thereby claiming the laurel Toni Morrison famously bestowed on Clinton in 1998.