PEN Reads starts today + other links

PEN Reads has begun with this short essay by Colm Tóibín. Check it out and weigh in with your own thoughts. And if you haven’t already, get a copy of The Hour of the Star and stay tuned to PEN.org/PENReads for more in the weeks ahead. (It’s a short book so you needn’t worry too much about falling behind—or resort to watching the movie... though apparently it’s pretty good?)

The Rumpus also has a book club and until Friday they’re giving away free books.

Also via The Rumpus: Etgar Keret (beloved contributor to PEN America) describes for the online magazine Tablet his practice of writing fake dedications. When “a total stranger” asks you to sign a book, he says, what can you write that doesn't sound smarmy or false? Which leads him to this conclusion: “If the books themselves are pure fiction, why should the dedications be true?” One book he inscribes: “To Avram. I don’t care what the lab tests show. For me, you’ll always be my dad.” And in another, which someone has asked him to sign for his girlfriend, Keret writes: “Bosmat, though you’re with another guy now, we both know you’ll come back to me in the end.”

Keret’s countryman and fellow short-short story writer Alex Epstein has just published in the United States a collection of his really wonderful stories (translated by Becka Mara McKay)—ten of which were featured in PEN America 12: Correspondences. Words Without Borders has both a review of the book and a video interview with Epstein. He participated in the PEN World Voices Festival this year, so you can also watch him converse with Norman Rush, Claire Messud, et al; listen to him discuss the short story with Aleksandar Hemon, Yiyun Li, and others; and hear him participate in the PEN Translation Slam.

And you can read the stories we published in PEN America 12: Correspondences. Here’s the shortest one:

THE MELANCHOLY OF ANTIQUE TELEPHONES

In ’83, the horoscopes are never wrong. After ten years, she moves the rotary telephone from the living room into the bedroom. Every morning, upon waking, she lifts the receiver and listens to whispering and rustling and rattling, as at a window. Maybe this is time, suddenly returning. Maybe this is rain. Maybe this is already her mother tongue.

Read the others here.

Festival highlights: New European Fiction & War

This year, there will be two World Voices events at Le Poisson Rouge, where PEN America had its own launch party back in October. It’s a fun space, right in the middle of Greenwich Village, and both these events look terrific.

The first—which will take place at noon on Saturday, May 1—is centered on Best European Fiction, an anthology published by Dalkey Archive that got a lot of attention earlier in the year. The event also reunites Aleksandar Hemon (who edited the anthology) and Colum McCann (who will write the preface to next year’s Best European Fiction), two PEN America favorites whose conversation in The Believer I highlighted a few weeks back.

As I understand it, the event will start with a conversation between Colum and Sasha about the state of fiction in Europe. Then three contributors to the anthology (Naja Marie Aidt, valter hugo mãe, and Jean-Philippe Toussaint) will read from their work before talking with Hemon about fiction in their respective countries (those would be Denmark, Portugal, and Belgium).

“War” will bring together Deborah Amos, Philip Gourevitch, Arnon Grunberg, Sebastian Junger, and Daniele Mastrogiacomo. Amos covers Iraq for NPR; Gourevitch has written about war in Rwanda, Iraq, and elsewhere; Grunberg is a novelist who has visited Iraq several times in the last few years; Junger’s war reporting has been collected in a new book simply titled War, which will be published in May; and Mastrogiacomo is an Italian journalist who, in 2007, was kidnapped along with the journalist Ajmal Naqshbandi and a driver, Sayed Agha, while covering the war in Afghanistan.

These five writers will discuss the difficulties and the responsibilities entailed in reporting on wars around the world.

Goodreads in Iran, Esterházy in New York, Achebe on Baldwin—and other links

* On the same day that PEN and five other organizations announced a campaign to win the release of more than 60 writers, journalists, and bloggers currently imprisoned in Iran (a campaign entitled “Our Society Will Be A Free Society”), the community manager of Goodreads revealed that the Iranian government appears to have banned their website in Iran. Today, as part of the “Our Society Will Be A Free Society” campaign, PEN and its partner organizations called on Iran to allow United Nations human rights experts into the country.

* On March 1, acclaimed Hungarian writer Peter Esterházy will read from his masterwork, Celestial Harmonies, at the 92nd Street Y, with musical accompaniment provided by his friend the composer András Schiff. A conversation will follow. Read PEN America contributor Alesksandar Hemon’s review of Celestial Harmonies before you go. (Afterwards, read Esterházy’s conversation with Wayne Koestenbaum in PEN America 9: Checkpoints and translator Judith Sollosy on Esterházy right here on the blog—and finally you should read Judith’s translation of Not Art, which was published yesterday, and is, as I understand it, about mothers, as Celestial Harmonies is about fathers.)

* PEN is reflecting on Black History Month with a terrific online feature that includes, among many other things, the audio of Chinua Achebe paying tribute to James Baldwin, video of Chris Abani in conversation with Walter Mosley, and a comic by Mat Johnson.

* The latest contributor to Granta’s online series New Voices is Billy Kahora, who studied in Scotland and now lives in Kenya. His story is intriguingly titled “The Gorilla’s Apprentice.”

* Lastly, our latest issue received a lovely review on NewPages.com. Among the highlights of the issue, according to reviewer Terri Denton: “The Anthology of Small Homes” by Sara Majka, a short story that Denton calls “a masterpiece—it’s that good.”

Our contributors elsewhere

Two of my favorite literary conversationalists, Aleksandar Hemon and Colum McCann, talk with each other in this month’s Believer. (McCann used a line from Hemon’s The Lazarus Project as the epigraph for his National Book Award-winning novel Let the Great World Spin, which was excerpted in PEN America 10: Fear Itself.)

AH: Here is the news, Mr. McCann: novels do not solve problems, though ideally they cause some. And if a Katrina novel would be a noble effort, that does not mean it would be any good—and if it is not good, then the pain and suffering and humiliation would have been misused for a literary tryout. You don’t practice your craft on other people’s tragedy.... published. Literature operates slowly, it is always inching toward bliss, never quite getting there.

CM: But I’ve never even dreamt that novels can solve problems. If they could we’d have no problems, or more likely no novels. And you’re right, the Guantánamo novel will probably take twenty years. But here is the flipside of the news: Stories have to be told over and over again, lest we forget them. Here, I think you make a mistake. You’re assuming once told is always told. Which I fear is the problem of how history is presented.

Hemon’s line about “other people’s tragedy” (and even his specific example of “a Katrina novel”) reminded me of Anya Ulinich’s story “The Nurse and the Novelist,” which appeared in PEN America 9: Checkpoints and prompted considerable discussion. (His remarks elsewhere in the conversation echo his contribution to our latest forum.)

And Colum’s reply called to mind his recent op-ed in The New York Times (where Hemon, too, has occasionally appeared), about the way fiction can shape our ideas about history: “Kennedy and Johnson traipse along feeling the weight of the things they have carried, and Bill Clinton sounds out the saxophone alongside the white noise.”

Fellow PEN America contributor Lydia Davis also showed up on the op-ed page of the Times recently, with a piece called “Everyone Is Invited,” published on Christmas Eve. Davis also conversed publicly not long ago, participating in a live chat on the website of The New Yorker. One reader asked about her story “Jury Duty,” and got this illuminating reply: “I don’t think too much before I plunge in and write the story. I knew I wanted to write about my experience of it, and then I found the form—David Foster Wallace’s question and answer, with the question blank.”

Lastly, a transcript of the recent PEN event honoring Natalia Estemirova is now online at HELO magazine, for those who couldn't be there.

P.S. As another update to the posts below, see this post on The Daily Beast about the New Year’s Eve rally for Liu Xiaobo, featuring a transcript of E.L. Doctorow’s closing remarks about what happens when a nation’s “poets and writers and artists, its thinkers and intellectuals, are muzzled in silence.”

“Imagine a book you wish had been written...”

First: If you’re in New York, don’t miss our launch party tonight.

Second: As I mentioned before, we asked a bunch of writers to imagine books they wished had been written, either by themselves or by others, living or dead, real or imaginary. Alternatively, they could tell us something they believed about books and their power (or lack of it).

Aleksandar Hemon said, “If I could imagine it, I could write it,” but acknowledged that he wished he had “written Lolita, or at least ‘Spring in Fialta.’ A few of Chekhov’s stories too.” He added that “Literature—books—provide access to the areas of human knowledge that are not available otherwise. Therefore,” he said, “I am interested exclusively in the things that literature alone can do.”

Rabih Alameddine, whose conversation with Hemon ran in PEN America 9: Checkpoints, was one of several contributors who got to thinking about a beloved author whose writing life was cut short:

I wish Bruno Schulz had written a third book, or a fourth. Maybe he did and it got lost. No one knows for sure. Many writers have died before their time, but because of the horrific manner in which he was killed, and the genius of the two books he left us, I never cease to wonder what could have been. Imagine.

Schulz is a major presence in PEN America 5: Silences, which includes excerpts from his Sanatorium Under the Sign of the Hourglass, David Grossman’s See Under: Love, and Jerzy Ficowski’s “biographical portrait” of Schulz, along with a conversation between Alan Adelson and Henryk concerning the author. (Grossman paid tribute to Schulz at the World Voices festival—and in the pages of The New Yorker—in the spring. One of Schulz’s self-portraits is reproduced above.)

So what books do you wish existed? Tell us here.

New fiction for the long weekend

The new issue of Granta is a "New Fiction Special," with work by Paul Auster, Amy Bloom, Ha Jin, and many more. Ha Jin's story, "In the Crossfire," is available online. (You can read Ha Jin's tribute to Chinua Achebe in PEN America 8: Making Histories; Paul Auster's tribute to Samuel Beckett in PEN America 5: Silences; and Amy Bloom's tribute to Grace Paley and Tillie Olsen right here on the blog.)

The issue includes a short, untitled piece by Chris Ware -- whose work is also in the new Bookforum, illustrating fiction by Holly Goddard Jones. (And for some animation by Ware, stop by VQR's blog.) Bookforum's new issue includes five other works of fiction, all with illustrations by noted graphic novelists; I'm particularly interested in this excerpt from The Cave Man by Xiaoda Xiao, "a survivor of seven years of forced labor on an island in Taihu Lake in Jiangsu province, where he served in one of Mao’s infamous prison labor-reform brigades." The illustration on the left (click to enlarge), which nods to Yeats, is by Lauren Weinstein, and accompanies fiction by Terrence Holt, introduced by Junot Díaz.

Bookforum also has an interview with Aleksandar Hemon, whose conversation with Rabih Alameddine is in PEN America 9: Checkpoints.

Lastly, the "Spring Books" issue of The Nation is out; among the many essays and reviews is this one on José Manuel Prieto's Rex, written by recent PEN honoree Natasha Wimmer. (And speaking of PEN's recent honorees, here are some highlights from speeches at Tuesday's awards ceremony.) Prieto's tribute to Gabriel García Márquez ran in PEN America 6: Metamorphoses.

Conversations @ World Voices

A late addition to the World Voices schedule: new Nobel laureate Jean-Marie Gustave Le Clezio will talk with Adam Gopnik on April 24. (That's Le Clezio in the AP photo on the right, with his wife Marina in 1963.) Gopnik, who will also talk with Muriel Barbery on April 30, proved himself a deft interviewer last year when speaking with Umberto Eco -- the conversation between Eco and Gopnik is in our new issue.

One-on-one conversations between writers are among my favorite festival events -- and we’ve featured several of them in PEN America: George Saunders and Etgar Keret, Aleksandar Hemon and Rabih Alameddine, Elias Khoury and Nuruddin Farah. (Our next issue features a terrific conversation between Colum McCann and Michael Ondaatje.)

This year’s festival features several intriguing pairings, perhaps none more intriguing than Enrique Vila-Matas with Paul Auster:

For years Enrique Vila-Matas and Paul Auster have been engaged in an extended literary conversation, spanning continents and several languages. And in the ingenious short story by Eduardo Lago, which borrows its title, Brooklyn Trilogy, from Auster, the two are even brought together as fictional characters. Two years ago, they met in person for the first time and discovered that they do, indeed, share many common obsessions.

For more on Vila-Matas, the place to go on the web (besides his own website) is Conversational Reading.

Other conversations I’m particularly excited about: Richard Ford talking with Nam Le (if you haven’t read any of Nam’s work, read this); Adrian Tomine with Yoshihiro Tatsumi (a great Tatsumi story appears in PEN America 10); Mark Z. Danielewski with Rick Moody; and Péter Nádas with Daniel Mendelsohn (whose long essay on Susan Sontag’s journals I hope to read soon).

See also: Music @ World Voices


PS. Other interviews and one-on-one conversations to look forward to: Nawal El Sadaawi & Anthony Appiah; Meir Shalev & Daniel Menaker; Neil Gaiman & Caro Llewellyn; David Grossman & Philip Lopate; Domenico Starnone & Antonio Monda; Sebastian Barry & Roxanne Coady.

Our contributors elsewhere

Rabih Alameddine, whose most recent book, The Hakawati, depicted -- among many other things -- the return of a Lebanese-American man to Beirut to see his dying father, contributes to the Granta series devoted to writers and their fathers. Rabih's conversation with Aleksandar Hemon ran in PEN America 9: Checkpoints, along with an excerpt from The Hakawati. In fact, their conversation was, along with Fady Joudah's poems, one of the inspirations for the issue's title:

HEMON: This idea of keeping death at bay with narration—its model is The Thousand and One Nights. And it suggests that storytelling is an affirmation of life. And I mean the basic fact of life—if you can tell stories, you are alive.

ALAMEDDINE: Yes. We are both from what I call “death on the shoulder” cultures. Many of my relatives saved themselves by entertaining people with guns. You get stopped at checkpoints; one cousin of mine knew she was going to die so she started talking to them. “I grew up in such and such a village,” and so on. She started telling her story very quickly—and they let her pass.

Continuing on this theme: The New York Times book blog Paper Cuts recently suggested a reading list devoted to the Israeli-Palestinian conflict, and, over at the VQR blog, Michael Lukas suggests some literary additions, including books by PEN America contributors Etgar Keret, David Grossman, and Mahmoud Darwish.

And in the Guardian, Pankaj Mishra seconds the Grossman recommendation. You can read Grossman's Freedom to Write lecture, from the 2007 World Voices Festival, here.

(Photo of Alameddine, above, by Beowulf Sheehan.)

Monday morning news

From The New York Times:

President Obama’s 18-minute Inaugural Address on Tuesday was generally lauded by Americans for its candor and conviction. But the Chinese Communist Party apparently thought the new American president’s gilded words were a little too direct.

China Central Television, or CCTV, the main state-run network, broadcast the address live until the moment Mr. Obama mentioned “communism” in a line about the defeat of ideologies considered anathema to Americans. After the translator said “communism” in Chinese, the audio faded out even as Mr. Obama’s lips continued to move.

That same day, Edward Albee, Margaret Atwood, Don DeLillo, and many other writers from around the world signed a letter calling for the release of Liu Xiaobo, a "prominent dissident writer, former President and current Board member of the Independent Chinese PEN Center, who has been detained since December 8, 2008 for signing Charter 08, a declaration calling for political reforms and human rights. Liu Xiaobo is being held under Residential Surveillance, a form of pre-trial detention, at an undisclosed location in Beijing, and no charges against him have been made known."


Meanwhile, Amitava Kumar shares a less serious letter (pictured right; click image to enlarge), this one written by a very young Fidel Castro to FDR: "President of the United States, If you like, give me a ten dollar bill green American..." Also see the latest issue of Politics and Culture, made up of letters to Obama from academics, and Thanks and Have Fun Running the Country: Kids' Letters to President Obama, published by McSweeney's and 826 National (excerpts here).

And lastly, many thanks to the National Book Critics Circle, which has awarded PEN American Center the Ivan Sandrof Life Achievement Award. (They also just announced the finalists for the 2008 NBCC Awards, a group that includes recent PEN America contributors Aleksandar Hemon and Marilynne Robinson.)

More memoir fakery and atrocity kitsch

While putting together PEN America 8: Making Histories, we thought a lot about the way writers engage with historical fact. The smartest writers seemed to agree that narrative was never strictly factual-- that fiction creeps into any kind of storytelling. Maggie Nelson, for example, in her beautiful and brilliant memoir/book-of-poems Jane, confesses, “I don’t know what to say,” when asked by her father if the book will be “a figment of your imagination.”

A now-scuttled book that had been planned for early next year brought these matters back to mind over the holiday: Herman Rosenblat’s Holocaust memoir, Angel at the Fence: The True Story of a Love That Survived, was cancelled by Berkley Books after Gabriel Sherman reported serious doubts about its veracity in The New Republic. In the memoir, Rosenblat told the story-- as he has many times before, on television and elsewhere-- of “his reunion with and marriage to the girl he says helped him survive the Holocaust by bringing him apples through the fence of Schlieben, a subdivision of the Buchenwald concentration camp.”

In the commentary that followed, one of the more striking responses came from Professor Ken Waltzer, director of Michigan State University’s Jewish Studies program, who found the episode saddening in many ways, not least because of the picture Rosenblat’s story paints of the Holocaust. “Holocaust experience is not heartwarming, it is heart-rending,” Waltzer writes.

That comment reminded me of Anya Ulinich’s story “The Nurse and the Novelist,” from PEN America 9: Checkpoints. As Anya told Maud Newton recently, the story satirizes “atrocity kitsch fiction”:

What’s appealing about atrocity kitsch is that there is always a strong hero. There is also a record keeper, a paper trail, an old love letter, an old key, what have you. At the end of the story, somebody becomes stronger…. The nurse character is a curmudgeon and a nut, and her grandmother’s history is a fine example of what happens to ordinary people come times of atrocity. The weak scramble to survive when they’re in a pickle. Their weaknesses come to the fore, betrayal goes unpunished, people would rather forget, ordinary life continues in utilitarian apartments.

I suspect that Anya has a kindred spirit in Aleksandar Hemon (whose conversation with Rabih Alameddine also appears in Checkpoints), judging from his most recent book, The Lazarus Project-- which addresses, in a similarly merciless fashion, more recent atrocities: the war in Bosnia, the torture at Abu Grhaib, human trafficking in Moldova. Hemon interweaves the narrator’s experiences with and reflections on these events with a fictional account of Lazarus Averbuch, a historical figure, and the victim of his own personal atrocity. Thinking of The Lazarus Project again (with some help from Anne Yoder’s post yesterday at The Millions), a point of contact appears between the purveyors of false memoirs and atrocity kitsch, respectively. Both groups of writers exploit the wishes of many readers to see redemption in the worst the world has to offer, rather than merely facing it for what it is. This is, perhaps, its own kind of lie, the kind that has nothing to do with historical fact.

NBA fiction finalists in PEN America

Congratulations to this year's National Book Awards finalists. It's great to see Aleksandar Hemon on the list for The Lazarus Project, a book mentioned on this blog before. One of the highlights of PEN America 9 is a conversation between Hemon and Rabih Alameddine. Hemon and Alameddine are friends and have a great comic rapport, which came across in person and survives on the page. The conversation is not online, so you'll have to order the issue to read it. Here’s a snippet (they're discussing Alameddine's 2008 novel, The Hakawati):

HEMON: There are a certain group of writers—and you would call them intellectuals if you were drunk—who suddenly took up the banner of Western civilization, defending it from Islamists and Islamic fascists, which is just about anybody who is not part of the crowd. Is this book a repudiation of their position—

ALAMEDDINE: What do you think?

HEMON: —and if so in what way?

ALAMEDDINE: I hope in a very subtle way. The book is not a repudiation, actually. It is a changing of the subject. The book started a bit earlier, but I was hit at a particular point—when George Bush said "They hate our freedoms."

Marilynne Robinson, an NBA finalist for Home, appeared in PEN America 8: Making Histories, with some remarks about memory and amnesia in Iowa, very apropos of her new novel. She also appeared in PEN America 2: Home and Away, paying tribute to Proust.

The other finalists for fiction are Rachel Kushner for Telex from Cuba, Peter Matthiessen, for Shadow Country, and Salvatore Scibona, for The End. (While I haven’t read any of these, I did hear Scibona, an acquaintance, read part of his novel at a Happy Endings reading, and the section he read, at least, was terrific.)

On the subject of literary awards, here's a (somewhat belated) link to a piece about Nobel Prize secretary Horace Engdahl’s comment that “Europe still is the center of the literary world … not the United States.” This particular piece has very sane responses by Edward Albee, Junot Díaz, and the current president of PEN American Center, Francine Prose. It’s true, as Engdahl noted, that more literary translations should be published in the United States. But the notion that the literary world has one geographical center seems dubious, to say the least. I certainly didn't get that feeling at this year's World Voices festival.

Esterházy Update

If you read much about the 2008 World Voices festival, you probably came across the name of Péter Esterházy, who was a hit everywhere he went—sharing the bill with Ian McEwan, Michael Ondaatje, and others; protesting government incursions into our privacy; and talking with Wayne Koestenbaum.

Or perhaps you were ahead of the curve, and read about his masterwork Celestial Harmonies in 2004, when it was published in the US (and was raved about in Slate by none other than Aleksandar Hemon—another festival participant this year).

In any case, a couple of excellent blogs flagged this recent article in Hungarian Literature Online about his follow-up to Celestial Harmonies, called Revised Edition. After writing 1,000 pages about his male ancestors (who more or less ran Hungary for a few centuries, from what I understand) in the former book, he discovered that the most immediate of these ancestors, his father, was an informant for the Communist government which had brought low his aristocratic clan.

It’s an amazing story. I heard Esterházy tell it to Koestenbaum back in May—and then, more recently, I read Esterházy’s preface to Revised Edition, which provided some additional details. The preface was translated for us by the wonderful Judith Sollosy, who also translated Celestial Harmonies. We thought we might publish it along with the Koestenbaum conversation in PEN America 9 (which will also feature a typically smart and gorgeous essay in five-word lines by Wayne). For a variety of reasons, the preface didn’t work in this particular issue—but yesterday I had the chance to talk with Judith, and got some good news about another Esterházy project: a very different follow-up to Celestial Harmonies, a novel about mothers rather than fathers, called (in the Hungarian original, anyway) No Art!

Judith has agreed to write something for this blog in the near future, filling in Esterházy's growing American fanbase on all of these matters. So if you're a part of that group, watch this space.

(Photo credit: Beowulf Sheehan, taken at the Town Hall reading, 2008 PEN World Voices Festival.)

Great writers in surprising venues

When Philip Gourevitch led a book club discussion of Standard Operating Procedure over at Talking Points Memo, I was impressed by his inclusion of the novelist Robert Stone and the poet and essayist Mary Karr among the contributors.

Now there's another TPM Book Club with a literary bent: Joseph O'Neill discussing his new book Netherland with novelist and critic Dale Peck, novelist and radio impresario Kurt Andersen, UT Austin professor Mia Carter, and Will Buckley of The Guardian.

And yesterday I pleasantly surprised to discover Aleksandar Hemon on the op-ed page of the Sunday New York Times and Doris Lessing in the Times Magazine. Here's Hemon on a terrifying 1991 speech by the recently arrested Radovan Karadzic:

Watching the news broadcast covering the session, neither my parents nor I could initially comprehend what he meant by “annihilation.” For a moment or two we groped for a milder, less terrifying interpretation — perhaps he meant “historical irrelevance”? For what he was saying was well outside the scope of our middling imagination, well beyond the habits of normalcy we desperately clung to as war loomed over our irrelevant lives.

And here's Lessing discussing lighter matters (the response to her Nobel by Harold Bloom) with Deborah Solomon:

When you won the Nobel Prize in Literature last year, he described the choice as “pure political correctness,” presumably because you are female.

Yes, I remember. It was a very malicious thing. If he gets the Nobel Prize, believe me, I won’t be as bitchy.

(PEN America 9, by the way, will include Hemon's conversation with Rabih Alameddine from the most recent World Voices festival-- along with new new fiction by Anya Ulinich, Joshua Furst, Yousef Al-Mohaimeed, Young-ha Kim, and others; new poetry by Kimiko Hahn, Wayne Koestenbaum, Fady Joudah, and others; and more. Stay tuned.)

Virginia Woolf: four thoughts and one tattoo

Angelina Jolie allegedly has this remark from Virginia Woolf tattooed on her body: "As a woman I have no country. As a woman I want no country." This leads Scott Esposito to ruminate about "how American authors have dealt with the concept of national guilt."

It led me back to the Woolf tributes in PEN America 1: Classics, by James Wood, Mary Gordon, Elaine Showalter, and Michael Cunningham, which themselves contain some interesting ideas:

James Wood: "Woolf turns female absent-mindedness into the most searching philosophy of the self, and we suffer with her heroines, who are suspended between forgetfulness and remembrance, between their fulfillment and their irrelevance."

Mary Gordon: Woolf's "ideal is a fiction in which the stuff of realistic fiction—money, class, social placement, the details of family connection—is notable for its absence, and attention is paid only to that which reveals the inner life."

Elaine Showalter: "As an American, I’m always struck by how much importance Woolf placed on the story of Shakespeare’s sister, and on the coming of the great female literary messiah. Americans have not been so reverent, at least not American men."

Michael Cunningham (who says he read Woolf to impress a girl, and that "Mrs. Dalloway was the first great novel I ever read"): "If you look with sufficient penetration, and sufficient art, at any hour in the life of anybody, you can crack it open. And get everything."

Also included in that issue is a long piece from Woolf's own Common Reader: Second Series, called "How Should One Read a Book?"

PS. That's Woolf on the left, circa 1912 (when she was Virginia Stephen).

PPS. The most striking fictional exploration of guilt and recent American crimes that I've read is this book (which also happens to have the best website I have maybe ever seen for a novel).

Sebastian Horsley, World Voices, and other news

As you may have heard, British memoirist Sebastian Horsley was denied entry into the US on account of "moral turpitude." As mentioned here before, PEN has long opposed ideological exclusion, and even if Horsley is no Doris Lessing, laws like this shouldn't be abided.

And so Horsley has been invited to this year's World Voices festival, April 28-May 4 in New York (with satellite events in Boston-- i.e., Cambridge-- and Rochester). With any luck, the US government will get the chance to exclude him once again, and draw further attention to this frankly un-American policy.

If they do so, though, he'll miss some great events: Ian McEwan and Steven Pinker; Rushdie, Eco, and Vargas Llosa together again; Rabih Alameddine talking with Aleksandar Hemon; Susan Bernofsky, Deborah Eisenberg, Jeffrey Eugenides, Wayne Koestenbaum, and Michael Krüger paying tribute to Robert Walser; the list goes on and on.

For some less partial-- but no less favorable-- responses to the lineup, see here, here, and here (that last link includes a great write-up by James Marcus of the "launch" event held last week aboard the Queen Mary 2; by the way, the unidentified kazoo player Marcus mentions, who joined Dale Peck and Jonathan Ames on stage, was the indefatigable Fran Manushkin).

Also, if you missed it, the winners of the PEN Translation Fund's 2008 grants have been announced. A bunch of great projects that shouldn't be without publishers for long.

Update: more write-ups of the Queen Mary 2 event here, here, and here.

Late update: PEN's letter to Condoleeza Rice and Michael Chertoff concerning Horsley. Also, the press release.