Neelanjana Banerjee talks with Helen Oyeyemi about why she’s drawn to supernatural subjects (but not “magical realism”), why vampire stories are really about race, and how to write stories that will freak your readers out.
Like most of us, Orhan Pamuk’s narrator Kemal rushes through his happiest moments in a preoccupied haze, only appreciating them in hindsight. A true materialist, he seeks to recreate them through his collections of mementos large and small, iconic and insignificant. His “museum” in The Museum of Innocence (Knopf, 2009) is a diorama not only of Kemal’s own nostalgia, but of Turkey itself in the late 1970s.
In his wonderful Nobel lecture, Jean-Marie Gustave Le Clézio argues passionately why the writer, literature, and literacy matter in a global society, responding in particular to Stig Dagerman’s Essäer och texter. I greatly admire how this speech–like the best fiction–is at once intimate and inclusive, intensely personal yet widely relevant. Some choice excerpts: If we are writing, it means that we are not acting. That we find ourselves in difficulty when we are faced with reality, and so we have chosen another way to react, another way to communicate, a certain distance, a time for reflection. The writer, the poet, […]
