Posts Tagged ‘James Baldwin’
January 29, 2013 | by Sadie Stein
November 29, 2011 | by Elisabeth Donnelly
Revolutionary times fuel William Kennedy’s newest book, Chango’s Beads and Two-Tone Shoes, which follows the career of journalist Daniel Quinn. The novel’s first half takes place in 1957 Cuba, where Quinn gets writing advice from Ernest Hemingway (“Shun adverbs, strenuously”), falls in love with a gunrunner named Renata, and hikes through the jungle for the ultimate journalist’s prize—an interview with Fidel Castro. The second half finds Quinn, eleven years later, witnessing another kind of revolution, this one in his hometown of Albany after Bobby Kennedy’s assassination, as the city hovers on the verge of race riots. The eighth novel in Kennedy’s Albany Cycle—which includes the Pulitzer Prize–winning Ironweed—Chango’s Beads has a cast of characters that will feel familiar to readers of the earlier books, characters united by jazz, corruption, heroics, journalism, politics, and the perpetual revolution of history. I talked with the eighty-three-year-old Kennedy at his home in Albany—a townhouse where Jack Diamond, gangster, bootlegger, and the subject of Kennedy’s second novel, Legs, was shot to death. Read More »
September 17, 2010 | by The Paris Review
What we’ve been reading.
The Cross of Redemption, James Baldwin’s uncollected prose. So absorbing I woke up thinking about it this morning, showered and shaved, and stepped back into the shower. (“You’re wet. You showered,” was my first non-Baldwin thought of the day.) —Lorin Stein
“The First Tycoon of Teen,” Tom Wolfe’s 1964 profile of pop wunderkind Phil Spector—“the first millionaire businessman to rise up out of the teen-age netherworld.” At 23, Spector had already produced “Zip-a-dee-doo-dah,” “He’s a Rebel,” “Be My Baby,” “Da Do Ron Ron,” “Then He Kissed Me,” “Uptown,” and “You’ve Lost That Lovin’ Feelin.” “I get a little angry when people say it's bad music,” Spector tells Wolfe. “It has limited chord changes, and people are always saying the words are banal and why doesn't anybody write lyrics like Cole Porter anymore, but we don’t have presidents like Lincoln anymore either.” —David Wallace-Wells
A recent poem from The New Yorker called, “On the Inevitable Decline Into Mediocrity of the Popular Musician Who Attains a Comfortable Middle Age.” It goes: “O Sting, where is thy death?” —Daisy Atterbury
In the midst of a renewed discussion about female writers and their relationship with the literary establishment, This Recording re-published a piece written by Margaret Atwood in 1976 entitled “On Being A 'Woman Writer.’” Atwood is clear, calm, thorough and undeniably relevant: it wasn't until I got to the bottom of the essay that I realized the piece was over thirty years old. —Miranda Popkey
Elif Batuman’s astounding “Get A Real Degree” in the London Review of Books, which begins as an focused inquiry into the MFA program microculture but expands outward and outward and outward again, until the entire horizon of post-Quixote literature has been pulled into view. —D. W.-W.
I recently watched The Red Stuff, a documentary about the Soviet Union’s race to space. It’s bizarre to see Russian astronauts, especially those now past their prime and overweight, surrounded by Russian space memorabilia. But what I wanna know? Space ice cream. Do the Russians now sell it at their science museums like we do? Also recently viewed: IMAX: Hubble 3D, about the last flight to the Hubble Space Telescope. The images of earth are so beautiful that I cried. —Thessaly La Force
A mesmerizing essay in The Nation on Javier Marías and his Your Face Tomorrow trilogy by the man I'm beginning to think is the best critic writing today, William Deresiewicz. “Marías’s Europeanness is of the autumnal variety, much in evidence in recent decades, the product of a ripened civilization that feels itself equipped for nothing but the harvest," Deresiewicz writes. “Reflection in James or Proust,” he continues, “isn't a commentary on the story; it is essential to the story. It hugs the plot like a lining of a coat. It exposes character, develops relationships, shapes action. It gives utterance to feeling and direction to choice. It evolves, as the protagonists themselves evolve. But reflection in Your Face Tomorrow rarely does any of those things; it simply sits alone in its study, watching the plot go by.” —D. W.-W.