On Killing Charles Dickens
I did everything I could to avoid writing my historical novel. When I finally started “The Fraud,” one principle was clear: no Dickens.
By Zadie Smith
For the first thirty years of my life, I lived within a one-mile radius of Willesden Green Tube Station. It’s true I went to college—I even moved to East London for a bit—but such interludes were brief. I soon returned to my little corner of North West London. Then suddenly, quite abruptly, I left not just the city but England itself. First for Rome, then Boston, and then my beloved New York, where I stayed ten years. When friends asked why I’d left the country, I’d sometimes answer with a joke: Because I don’t want to write a historical novel. Perhaps it was an in-joke: only other English novelists really understood what I meant by it. And there were other, more obvious reasons.
The Tyranny of the Tale
We’re told that story will set us free. But what if a narrative frame is also a cage?
By Parul Sehgal
After a millennium, she remains the hardest-working woman in literature. It was not enough to be saddled with a husband who had the nasty habit of marrying and murdering a new virgin every day to assure himself of spousal fidelity. Nor was it enough to produce a series of nested stories under such deadlines (truly, I complain too much), stories so prickly and tantalizing that the king postponed her murder every night to wait for the next installment. That’s to say nothing of the entirely forgotten three children she bore over those thousand and one nights. Who recalls that there was always a new baby in Scheherazade’s arms?
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the Dronalist
Boomers Daily 