A Literary Giant Confronts His Would-Be Assassin
Salman Rushdie's latest book, 'Knife: Meditations After an Attempted Murder,' is compelling meditation on mortality and free speech.
It is not wrong to say that America made C.S. Lewis. Lewis’s 1942 book The Screwtape Letters was popular in Britain but was initially rejected by American publishers until Macmillan took a chance on it in 1943. It was a huge success. Macmillan quickly brought out his The Problem of Pain and The Case for […]
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Chasing Bright Medusas is a splendid book, elegantly formulated, casually authoritative, admirably concise, offering a balanced account of a writer I believe the best American novelist of the past century. As its author Benjamin Taylor recounts, Willa Cather did not always receive the most hospitable reception from some of the leading literary critics of her day. But she now no longer needs them, having found full acceptance from that greatest and most stringent of all critics, Time itself, for today, more than 75 years after her death in 1947, her novels and short stories remain immensely readable and significant in a way that Ernest Hemingway and F. Scott Fitzgerald’s and others once better thought of than she no longer do. No one sets out deliberately to write for the ages, but Willa Cather seems to have done just that.
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For no particular reason—save, I suppose, his continued literary excellence—George Orwell is the flavor of the month right now. Earlier this year we had D.J. Taylor’s revisitation of his earlier biography of him in Orwell: The New Life, and now we have Anna Funder’s examination of Eileen O’Shaughnessy, Orwell’s first wife and, in Funder’s view, a brilliant woman and crucial influence on her husband’s life and work who has been unjustly airbrushed from history. As she writes early on, "She hasn’t really been in any of the biographies. Orwell’s biographers are seven men looking at a man."
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In his latest book, Joseph Epstein, master of essays personal and literary, makes the case for the novel as our indispensable art form. His timing, comic and otherwise, is excellent.
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It’s third period English, junior year. You’ve just finished reading The Great Gatsby, and your teacher is prodding the class to consider Fitzgerald’s use of color. Daisy’s white dress, Gatsby’s gold tie, the green light across the blue lawn—what could it all mean?
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