Hello again, FWR friends. Welcome to the second installment of our new blog series, “First Looks,” which highlights soon-to-be released books that have piqued my interest as a reader-who-writes. We publish “First Looks” here on the FWR blog around the 15th of each month, and as always, I’d love to hear your comments and your [...]
Posts Tagged ‘Jewish lit’
At age 53, Joan Leegant published her first book, the critically heralded story collection, An Hour in Paradise. With her debut novel, Wherever You Go, she has continued to prove her presence as a preeminent Jewish-American writer. Jody Lisberger taught fiction at Harvard with Joan Leegant, and their interview explores questions of structure, identity, listening to your characters and the treatment of ethical issues in fiction.
Character likability. “Plot-driven” as pejorative. Research limits in historical fiction. The mail-order-bride as escape route. The double-edged sword of social media. Anna Solomon tells it straight in this conversation with Sara Schaff.
In conversation with Anne Stameshkin, debut author Erika Dreifus shares true stories that inspired her collection, Quiet Americans; wonders when it’s kosher for authors to write characters from backgrounds they don’t share; explores how reviewing books makes us better fiction writers; and recommends favorite novels and collections by 21st-century Jewish authors.
I adore all of The Pale of Settlement (2007), a collection of linked stories by Margot Singer that won the Flannery O’Connor Award for Short Fiction, the Glasgow Prize for Emerging Writers, and the Reform Judaism Prize for Jewish Fiction. I’ve reread the entire book. But the story that I’ve returned to most often—many times—is [...]
In Binocular Vision: New & Selected Stories, Edith Pearlman grabs the reader’s attention and never lets it go. In this review, Andrea Nolan looks at some of Pearlman’s first lines and examines how her stories are united through character, theme, and place.
As the annual observance of Yom Hashoah (Holocaust Remembrance Day) approaches, Erika Dreifus discusses the literary kinship among works from an emerging cohort of “3G” (third-generation) Jewish writers: Julie Orringer’s The Invisible Bridge, Alison Pick’s Far to Go, and Natasha Solomons’ Mr. Rosenblum Dreams in English.
“We create things that we hope will, someday, become objects of value. In the wake of the 9/11 attacks, many writers–Foer, DeLillo, and Roth, to name just a few–all came out with 9/11 novels. I was initially bothered by this. I wanted to say, ‘Fuck you; I was there.’ This passed for a couple reasons. First was the realization that we’re all survivors of one type or another. Second, these texts can never really become authoritative positions on the experiences of a group of people, no matter how well written they are or how well credentialed their creators might be. There’s no uniform experience of being a 9/11 survivor, no uniform experience of being a woman. These are things that can’t be owned by anyone.”
NPR’s Marion Winik has called Janice Eidus’s latest novel, The Last Jewish Virgin, “Twilight…with a sense of humor, a brain, and a feminist subtext.” At the Algonquin hotel, Eidus talks with Lauren Hall about paying homage to—and reinventing—the vampire myth; judging a book by its cover; and writing longhand in the mountains of San Miguel de Allende.
Jonathan Tropper’s latest novel, This is Where I Leave You (paperback: Plume, July 2010), mines the hilarity from dysfunction in a belated coming-of-age story. After patriarch Mort Foxman passes away, the Foxman clan is forced to sit through what might be the craziest shiva of all time.