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Posts Tagged ‘Margaux Fragoso’

Dear Paris Review, Where Do I Publish?

July 20, 2012 | by

Dear Editors:

Have made writing full time. Have novel and short essays. Attended NYU’s Summer Writer program last year. Would you have a good list of places for submissions beyond The Paris Review, The New Yorker and The New York Times? Thank you for reaching out via Twitter and offering some of us (hopefully lovable) newbies some guidance.

Dear Newbie,

We get asked this a lot. It’s a reasonable question, but it always makes our hearts sink.

Here’s the thing: no matter how many classes you take, no matter how much time you spend at the keyboard, you cannot write seriously unless you read. And that means, partly, reading your contemporaries. Their problems are your problems; you can’t write—that is, you can’t write for serious readers—until you know what the problems are. Read More »

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Staff Picks: Sarah Bakewell, Vladimir Sorokin

March 11, 2011 | by

For the last few months I’ve been rereading—very slowly and very late at night—Montaigne’s essays. All thanks to Sarah Bakewell (who won a National Book Critics Circle Award last night for her biography of Montaigne: How To Live). —Lorin Stein

Several years ago I read Vladimir Sorokin’s Ice and found its matter-of-fact sci-fi narrative intriguing but its conclusion quite disappointing. Turns out it’s the second book in a trilogy, which, thankfully, NYRB has published in a single volume—the way it ought to be read. I haven’t reached the end yet, but so far it’s wonderfully weird. —Nicole Rudick

The reviews of Margaux Fragosos’s Tiger, Tiger gave me the chills. It’s a memoir of her relationship with Peter, a pedophile forty-four years her senior. When a copy of the book was slipped on my desk this week, I had to pick it up. —Thessaly La Force

As an undergraduate, I remember catching my necromantic tutor in Old Icelandic obliviously reciting poems from the language on the top deck of the city bus. This week, I’ve been putting those extracurricular lessons to use by whipping out Basil Bunting’s Collected Poems on the subway. It doesn’t take long for the short, incantatory lines of “Briggflatts”—studded with monosyllabic words that Bunting excavated from Anglo-Saxon and his regional Northumbrian dialect—to achieve the twin effect of making me forget my surroundings and baffling my fellow passengers. I mean, what on earth is an oxter? —Jonathan Gharraie

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