Meals and deals

Five biggest trends from London book fair 2023.

Over the course of three days in London, thousands of editors, publishers and agents, among others, decide what we’ll be reading in the coming year or so.

Here’s our round-up from London book fair, which took place from 18 to 20 April, taking in the essentials of what the publishing landscape will look like for the next 12 months, from what we’re going to buy, to the big issues occupying the industry. Sarah Shaffi, The Guardian

 

Creative Nonfiction

What is “creative nonfiction,” exactly? Isn’t the term an oxymoron? Creative writers—playwrights, poets, novelists—are people who make stuff up. Which means that the basic definition of “nonfiction writer” is a writer who doesn’t make stuff up, or is not supposed to make stuff up. If nonfiction writers are “creative” in the sense that poets and novelists are creative, if what they write is partly make-believe, are they still writing nonfiction? [...]

One answer is suggested by Samuel W. Franklin’s provocative new book, “The Cult of Creativity” (Chicago). Franklin thinks that “creativity” is a concept invented in Cold War America—that is, in the twenty or so years after 1945. Before that, he says, the term barely existed. “Create” and “creation,” of course, are old words (not to mention, as Franklin, oddly, does not, “Creator” and “Creation”). But “creativity,” as the name for a personal attribute or a mental faculty, is a recent phenomenon. Louis Menand, The New Yorker

John le Carré visto da John Banville

David Cornwell, aka John le Carré, was tall, muscular, and physically forceful, even into old age, and possessed of what used to be called film-star good looks. He seemed, on the face of it, wholly at ease with the world and with himself. But what the camera so often revealed, behind the confidently winning smile, was the wounded man whose mother, when he was five, abandoned him without even saying good-bye, and who after he had become the successful novelist John le Carré was asked by his father to reimburse him for the cost of his education. The New York Review of Books

e anche, sempre sulla New York Review of Books, un interessante articolo sul nuovo libro di Adam Kirsch, The Revolt Against Humanity (Columbia Global Reports)

If humanity were to disappear from the Earth, what would be lost? On the human scale, the answer is everything; but on a planetary scale, it’s tempting to concede that such a loss might amount to a net gain. It is probably not necessary to enumerate the various ways that humanity has been unambiguously bad for the planet and pretty much every other living creature on it. But we tend not to think of our species, and the prospect of its extinction, in such bluntly utilitarian terms. We’d rather we weren’t so terrible, but we’d also like to think, even if it means fooling ourselves, that we might in time become less terrible—and either way, an enthusiastic embrace of our extinction would surely be taking things a bit far.

Or would it? This is the question that animates The Revolt Against Humanity, a brisk and bracing new book by the poet and critic Adam Kirsch. NYRB

 

Why Dickens still endures on page, stage and screen

All Dickens’s fiction – and any good adaptation – makes you laugh in the midst of what is horrible or sad. In Oliver Twist, Dickens commended “good murderous melodrama”, loved by Victorians, for presenting “the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky bacon”. His audacious alternations of tragedy and comedy – or, in Great Expectations, terror and absurdity – provide the entertaining shocks essential to popular entertainment. John Mullan, The Guardian

in effetti i romanzi di Dickens sono delle macchine narrative ingegnosissime, dei veri modelli per chiunque voglia scrivere. Nell'immagine Olivia Colman nella nuova versione della BBC di Great Expetations.