We also have the first-ever in-person interview with Elena Ferrante, on the art of fiction:
As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me … At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them … Even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men.
And Lydia Davis, on her approach to the short story, to translation, and to naming:
I’ve always felt that naming was artificial. I’ve done it. I wrote about one woman and called her Mrs. Orlando, because the woman I based her on lived in Florida. Recently I wrote a story called “The Two Davises and the Rug” because I have a neighbor named Davis and he and I were trying to decide which one should end up with a certain rug, and I was very fond of using that name, even though it wouldn’t make much difference to anybody if I called it “The Two Harrises and the Rug.”
Plus, Hilary Mantel discusses her Cromwell books and the difference between historians and novelists:
Nobody seems to share my approach to historical fiction. I suppose if I have a maxim, it is that there isn’t any necessary conflict between good history and good drama. I know that history is not shapely, and I know the truth is often inconvenient and incoherent. It contains all sorts of superfluities. You could cut a much better shape if you were God, but as it is, I think the whole fascination and the skill is in working with those incoherencies.
There’s new fiction by Angela Flournoy, Ken Kalfus, and Mark Leyner, the winner of this year’s Terry Southern Prize; a novella by James Lasdun; and poems from Charles Simic, Peter Gizzi, Major Jackson, Stephen Dunn, Susan Stewart, Shuzo Takiguchi, Craig Morgan Teicher, and Sarah Trudgeon.
Mel Bochner, who designed a cover for the magazine back in 1973, is back with a portfolio of thesaurus paintings. And last, there’s “Letter from the Primal Horde,” an essay by J. D. Daniels about a fateful experience at a group-relations conference.