For true bibliophiles, there is nothing lovelier than a volume of collected works. Such a book, filled as it is with a career’s worth of writing, isn’t meant to be read conventionally, from beginning to end, but can be nonlinearly perused, occasionally opened, to any old page, to one’s favorite piece, and enjoyed again and again. Add to this the fact that these collection contain all—or at least most—of an author’s work in a given form, which means when it comes to the collected writer, you’ve got them covered; never again will you have to seek out something they published, since you’ve now got everything they’ve produced in a handsome, stuffed-to-the-brim edition. Below you’ll find some recent collected works by some of the most influential and monumental talents in the world—a few you’ve no doubt read, while others may be new to you. But they all, in their careers, ran the gambit of subjects and themes, explored the outer reaches of their forms, and composed a rich array of poetry and prose. Continue reading….
Last summer, I wrote a piece about a number of books that were themselves about books, a category that happens to be my very favorite. Though I maybe should have anticipated it (it was, after all, a decidedly literary essay on a decidedly literary website), “The Best Books About Books” attracted a lot of attention—more so, I’m sure, because of the titles collected than for the quality of my writing. But nonetheless I was pleased to see those works receiving due promotion, which is mainly the only joy a critic experiences.
14 Unique and Innovative Short Story Collections | Read It Forward
To celebrate National Short Story month, here are fourteen innovative and unique story collections, the kinds that contain wonderful tales but also add up to a singular, cumulative experience. Instead of disparate narratives one after the other, these are stories as riffs, as meditations, as commentary, as thematic development, and collections as standalone works of art, which show that stories needn’t be isolated figures, like trees, but can become, in the right hands, forests and jungles—or better yet they can be turned into houses, and it doesn’t matter that you can’t recognize the individual trees.
Anyway, so I spent my Superbowl Sunday organizing the most important section of any critic’s collection: literary criticism and biography. Not only is this my favorite shit to read, but I also refer to them so often that they’re also the most practically necessary. After I finished, I posted a photo of the beautifully and temporarily full shelves (I’ve already pulled like six books off that I’m using for current pieces) on Twitter, and someone asked me if I had any particular favorites. I wasn’t at home when I got the tweet, so to even consider responding at the time was unthinkable. I pondered for a few seconds before immediately becoming overwhelmed. When I returned later and stared at the shelves, it occurred to me that I’ve been asked this question quite a few times. Perhaps this is because as a self-identifying literary critic there isn’t much else for people to ask me—this field doesn’t exactly make for the most riveting party talk. But whatever the reason, I thought I’d put together a list of the criticism that I most admire and to which I repeatedly refer. This is, of course, an extremely limited list, taken exclusively from books I own. Also for the sake of my sanity, I excluded all single-subject biographies and criticism on film or music; only fiction, poetry, and drama. Memoirs counted only if they directly involve other writers and/or the literary landscape of the era. It is in no way meant to be a list of the world’s indispensible literary criticism, only my own, and only so far.
Writers at Work | Literary Hub
On 12 books and 4,500 pages of essay collections from Jessica Hopper, Richard Hell, Christopher Hitchens, Saul Bellow, Lillian Ross, John Lahr, Joni Tevis, Greil Marcus, Helen Vendler, Jeff Nunokawa, Stanley Fish, and Edward Mendelson.
This year has given us essay collections by a wide variety of writers from different points in their careers—some life-spanning tomes, some brazen debuts, some posthumous celebrations, and one novelist working, as William Gass phrased it, “off duty.” And here I wish to discuss 12 of these books, in praise not just of the journalistic/critical essay as art but in general to all its eclectic practitioners—those often unknown and usually underpaid freelancers, those occasional contributors struggling to get by, those staff writers churning out 2,000-word pieces like a court stenographer, whose volume seems to reduce their artistry but who are merely practicing a different kind of art, one that necessarily responds and reacts to the world and its daily shifts, and so instead represents not a finished product but a process of continual creation—here’s to writers at work.
In Search of the Real Truman Capote | The Atlantic
Music for Chameleons is Capote’s most idiosyncratic book, his flat-out weirdest, but it’s also his most honest, and, in many ways, his best. It’s a shaky testament to a complex figure, and the battle with himself that he would never quite win. It captures Capote’s vast range, his uncanny ear for speech, his fascination with crime and process, his unprecedented access to celebrities and criminals alike—but most of all, Music for Chameleons captures his heart, hidden just below the pages. He wasn’t a saint, but he needn’t have been. Capote was a true artist—his blood was ink—and artists are more beautiful than saints, anyway.
In Praise of Unlinked Story Collections | Literary Hub
But what I want to praise are collections in which the stories are unrelated, in which the characters are distinct, and the whole of the book isn’t a perfectly cohesive unit but is instead a messy depiction of numerous lives. Of course we assume that writers and publishers spend a lot of time organizing each story of a collection; we believe they try to create a thematic arc, a rhythm to the order, which hopefully makes the reading experience more consistent and enjoyable. But here’s the thing: this matters to me not at all. I do not need a collection to feel “cohesive,” nor do I spend too much time considering the order. Rather, what I adore is precisely the opposite: a rattling journey from plot to plot, from character to character, from idea to idea.