August 9, 2019
On Toni Morrison, 1931–2019
August 9, 2019
On Toni Morrison, 1931–2019
July 15, 2019
I’m not yet assimilated
I’m falling asleep, dreaming, I can’t remember about what. When I wake, my nose is bleeding. No surprise, since I am a defective and sickly child. Alongside my asthma and vertigo, I have inherited weak blood vessels in my nose. My mother had hers cauterized, a red-hot rod prodded deep into her nostrils so the delicate, veiny frills would flatten and cease to bleed. I was a replicative mistake, the blood gushing out of my nostrils. I’m kicking and screaming.
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There’s more to life than not writing
The truth is, we were all lucky enough to have experienced writer’s block at some point in our young lives. The block was the reason we were at the program in the first place. Selected from a competitive pool of talented writers who nevertheless lacked our special gift, we represented the potential of an entire generation. From the beginning, the strength of our funding, from tuition remissions to stipends, as well as the entire trajectory of our so-called careers, was based on the severity of our blockage, which was taken as a sign of the promise of our ability to create something “new.”
Zimbabwe is a place whose writing cannot but be both global and ambivalent about globalization.
On V. S. Naipaul
I have admired Naipaul as much as I have found him difficult to admire, a murky admixture that I find difficult to explain or clarify, and which I find with no other writer, to anything like the same degree. (Edward Said referred to his “pained admiration,” and dissonant phrases of that kind are scattered through appreciations of his work.) I know, too, that you knew him, which I did not. I don’t know if that makes him more or less difficult to appraise.
Each this is not to say or in other words a dull sword wielded against willful misunderstanding
The irony of the op-ed’s depressing reemergence is that everything is an op-ed now. The op-edization of all writing should have rendered its traditional purveyors redundant. Why read a Times columnist when you can read the same opinion delivered with more style and energy almost anywhere else? But even as internet writers refine and defend and reiterate their opinions—an archipelago of converging takes—so-called traditional outlets have consolidated their influence.
“What’s the difference between a baby and an onion? No one cries when you chop up the baby.”
Why does writing well about atrocity matter? Because the history of the world, a history that is morally unimaginable without atrocity, needs to be written, rewritten, well written. To know what really happened, to know what it really felt like, we need more sentences that are capable of opening readers to events so horrible that the senses and the memory close down; sentences that open multiple perspectives on those atrocities, even if they seem to allow for only one perspective — sentences that do all this without losing their hold on logic and grammar and, for that matter, their rhythm
August 14, 2018
To live in America today is to sit slackjawed at a helpless recline.
I began writing nonfiction in the wake of September 11—and was published in print, in hard copy, by newspapers and magazines that would go on to cut pages, wages, and staff, if they didn’t fold altogether. Meanwhile, online was busy revising responsibility for the attacks: Bush II ordered them, Cheney let them happen, the American Deep State colluded with the Israelis, the Israelis colluded with the Saudis.
July 16, 2018
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May 26, 2018
"You know, everything that we’ve been doing together actually is the plot of ‘Goodbye, Columbus.’ "
But it turns out that I love those books. They have that same quality of being unrepentant. And the idea that you can write a novel that very clearly, unabashedly, unrepentantly has autobiographical elements, a novel that says, “What, fuck you, who even cares? This is what a novel is, and you can like it or you can get off the bus”—I appreciated that.
May 25, 2018
On Philip Roth, 1933–2018
For an age where more people are porn-literate than literature-literate, the nerdy Roth may prove to be his most transgressive persona in posterity, although there’s another candidate for the role. As all the tributes pour in and multiply in thousands of bytes on our screens, there’s another thing that no one has really mentioned: his political astuteness.
May 18, 2018
On Peter Mayer, 1936–2018
His indifference to luxury distinguished him from his peers and seemed to ground him in the present tense. An often ancient-seeming man who spoke with the long vowels of the American midcentury, he always kept moving. He invested in young people—in us—a remarkable degree of trust and authority. The past was invoked often, but always as the punchline to a good story: his sordid adventures in the Merchant Marines; the time Allen Ginsberg got into the cab he was driving and asked him to take him cross-country (Peter of course obliged); a visit with Yukio Mishima in Tokyo too bizarre and nightmarish to explain with any succinctness. He once said he published a photography book, New York in the ’70s, because he had spent that decade in his office and needed a visual guide. But the stories suggested otherwise.