“A new collection of Joan Didion’s work reminds us that she is her most memorable character.” Read more in The Washington Post or right here.
Mailer Tuchman Media has launched with an initial slate of film and TV projects anchored by Mailer, a drama series about the late author/provocateur.
A blurb on the back cover of professor-publisher-poet Philip Brady’s new book, Phantom Signs: The Muse in Universe City (Knoxville: University of Tennessee Press, 2019) describes it as a “high-spirited flash memoir.” This phrase could lead innocent readers to anticipate juicy tales of the author’s life as an American variety of Kingsley Amis’s Lucky Jim, a farouche academic who will take us on a frisky ride through the postmodern cultural landscape where we’ll encounter eccentric editors and nasty provosts (Brady’s particular bogeymen), attend poetry readings, ponder manuscripts and blurbs, get tutored in small press publication, pedagogical conundrums, and literary politics, all of this reamed with apercus about the miseries of social media and technology, remembrances of youthful erotic escapades, and punctuated by mildly astringent appraisals of poets past and present—Homer, Yeats, and H. L. Hix are the book’s tutelary spirits—as well as comical portraits of fellow litterateurs and beloved family members, the whole shebang battened together by droll wit and admirable forbearance. Brady’s dazzling new memoir (he wrote an earlier, more conventional one, To Prove My Blood, 2004), is all of these things, but it is the dream-like manner that he employs for the majority of the volume’s essays that transforms the volume into something rich and strange.
At The Inkwell NYC (in our NEW LOCATION at WORD Brooklyn) is delighted to feature three highly-acclaimed biographers John J. Winters, Michael Lennon, and Barbara Burkhardt.
NORMAN MAILER WOULD HAVE been ill suited for the contemporary cultural landscape. Married six times, he discarded five wives and stabbed one (an incident that led to a 17-day confinement in the psych ward at Bellevue, a conviction for third-degree assault, and five years’ probation). Overconfident, often boorish, fueled by booze and driven by a towering ego, he made a drunken ass of himself on The Dick Cavett Show in 1971 and got the stuffing knocked out of him in a debate with a panel of prominent feminists — a raucous, ragged, must-see affair captured on film in the D. A. Pennebaker/Chris Hegedus documentary Town Bloody Hall.
At the American Writers Museum to discuss Mailer and his work will be J. Michael Lennon and Maureen Corrigan. Lennon is emeritus professor of English at Wilkes University, is Norman Mailer’s archivist, editor, and authorized biographer, and president of the Norman Mailer Society. His books include Norman Mailer: “A Double Life” (2013) and “Selected Letters of Norman Mailer” (2014).
Tom Wolfe, the dashing, white-suited journalist-novelist with a Ph.D. from Yale in American civilization and a vocabulary equal to that of William F. Buckley, satirical skills not dissimilar to those of Kurt Vonnegut, H.L. Mencken and Mark Twain (not to mention Shakespeare’s rival, Ben Jonson, the gimlet-eyed satirist), a Southerner whose tradition-battering stories in the New York Herald Tribune in the early 1960s made him principally responsible for starting the first new direction in American literature in a half-century, the iconoclastic, initially detested-by-the-fourth-estate New Journalism (which really goes back to Daniel Defoe’s “Diary of a Plague Year”), died Monday at 87.