Literature

The following is excerpted from Elena Ferrante’s new novel, The Lying Life of Adults, translated by Ann Goldstein. Ferrante is the author of seven novels, including the bestselling My Brilliant Friend and Neopolitan quartet. Goldstein is an American editor and translator from the Italian language. Once, without any warning, my aunt brought me to meet
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How To Proceed is a bi-monthly conversation about writing, creativity and the world we live in. Author Linn Ullmann talks to some of the world’s most exciting literary voices about their books, their writing process, and how they view the world and current events around them. On today’s podcast, Linn Ullmann talks to Terrance Hayes,
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The biggest publicist to have ever walked the face of this earth, Howard Bloom has recently released a culmination of his extraordinary experiences with those he represented in “Einstein, Michael Jackson and Me: A Search for Soul in the Power Pits of Rock and Roll.” The question is who didn’t he embody? The list of
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TODAY: In 1919, F. Scott Fitzgerald gives the manuscript of This Side of Paradise to his friend Shane Leslie to deliver to Maxwell Perkins, editor at Charles Scribner’s Sons in New York.   “My correspondence with loved ones, and particularly fellow artists, are what has kept me aloft in recent months in this era of
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September 4, 2020, 12:26pm Izumi Suzuki, whose works of science fiction have earned her a special place in Japanese counterculture, will soon make her English-language debut with a story collection whose synopsis sounds almost unbearably cool. Verso Books will publish Terminal Boredom, a short story collection, in April 2021, and another collection titled Love<Death the
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In this week’s Dispatches from The Secret Library, Dr Oliver Tearle analyses an early Tennyson poem Who invented ‘free verse’? Walt Whitman (1819-92) often gets the credit, although his decision to write in free verse – unrhymed poetry without a regular metre or rhythm – may have been influenced by the Biblical Psalms. Before Whitman,
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There are two types of women, Picasso said: “goddesses and doormats.” His ideal muse—helpmeet and source of creative inspiration—was a hybrid; decorative enough to hold the artist’s eye, and meek enough, as patient unpaid model, to maintain whatever pose he required of her without complaint. Ideally, she should be a biddable lover and accept that
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