And so once again, we return to one of my preferred subjects for fiction: the making of art. Three of the four central characters in Sarah Hall’s How to Paint a Dead Man are artists; the two focal characters of A.G. Porta’s The No World Concerto are writers; and Ali Smith’s Artful is constructed around a series of lectures given on the subjects of art and aesthetics. None of these are traditionally structured, and that’s one of the pleasures of reading them: how […]
#tobyreads: A Trio of Granta’s Best Young British Novelists — Books by Helen Oyeyemi, Sarah Hall, & Ned Beauman
Mortifyingly, I haven’t actually read the current edition of Granta. I have a copy of it in my living room; I’ve thumbed through it a little bit: checked out some of the portraits; noted that Stephen Hall’s contribution seems to involve an interesting layout. But still: haven’t gotten to it yet. But that didn’t stop me from reading novels by three of the writers featured in said issue.
Brandon Stosuy on Iceage’s You’re Nothing: “These are the sentiments of early 70s NYC punk made by kids who can look back on hardcore and post-punk to add fuel to it.” “As a writer, you’re able to set up characters where they play out violent fantasies. Wouldn’t it be great if everyone you hated could be hung upside down in a barn and whipped with a riding crop? Well, no, it’s dreadful. But as a writer, you have the liberty […]
Daphne Carr looks at New York’s reaction to the death of Vaclav Havel. Edward Champion on the early fiction of Sarah Hall. Elisabeth Donnelly on the Canadian coming-of-age film New Waterford Girl. Douglas Wolk selects his favorites from the writing he did in 2011. Which includes thoughts on The Smiths, Britney Spears, and Judge Dredd. Gabrielle Gantz reviews Julie Doucet’s My New York Diary. Follow Vol. 1 Brooklyn on Twitter, Facebook, and our Tumblr. Got tips for Bites? Info@Vol1brooklyn.com