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Tag Archives: Alice Munro

 

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  • On the Shelf

    Dramatic Deaths, and Other News

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    • Citing health concerns, Alice Munro says she will not travel to Sweden to accept her Nobel in person.
    • “For the first time I felt myself in the presence of a talent greater than my own.” The long, strange friendship of Kingsley Amis and Philip Larkin.
    • “People are messes, every one of us.” Editor Giancarlo DiTrapano talks Tyrant. 
    • For its sixtieth anniversary, the Crime Writers’ Association has asked its six hundred writer-members to choose the best crime novel of all time. Agatha Christie, Arthur Conan Doyle, and Raymond Chandler fight it out.
    • Speaking of hot competition, the ten most dramatic deaths in fiction.

     

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  • Quote Unquote

    Lorrie Moore on Alice Munro

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    “Well, I have no relationship to her. I’ve never met her. And as for her work, I came to it too late probably for it even to have been an influence, which fills me with despair. I am merely a big fan. She is a great artist, alive and among us, and still writing as well as she did at the start—if not better, which is really saying something, since if you look again at Lives of Girls and Women, her first book, you will see it is a masterpiece, not like any other first book I can think of offhand. (You will also find in it many of the elements of Love of a Good Woman and other later fiction—the obsession with drowning, the allure and menace of men, the erotic moment as narrative pivot and the glimpses of wickedness that only the young are able to act upon to save themselves; the middle-aged must attempt to endure, make do, compromised and complicitous, with what they know.) Her later fiction is quite bold structurally—its handling of time is fearless and satisfying and not to be imitated. She seems over and over again to be writing a kind of ghost story. She is also witty and cruel (that is, unblinking) and painterly. Although she writes of the provinces, she is the least provincial writer I can think of. I’m not sure that this is always understood about her.” —Lorrie Moore, the Art of Fiction No. 167

     

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