So, you won’t be shocked to know that we actively seek out other ways to amplify those whispers from the stacks. For about four years now, John has been editing a column called B-Side Books at the journal Public Books. If you’re old enough to recall buying those little 45 rpm records (say, “Salad Days” by Minor Threat, in memory yet green) then you know the column is named after the obscure “flip side” that accompanies the song marketed to be a hit.
Over the years, around 50 writers took up the challenge, naming a forgotten book and making the case for, well un-forgetting: Ursula Le Guin was one and you will never guess what Scottish writer she plugged….. Thjis month sees teh publication of an elephant-covered book that collects 40 of these columns. We hope you will consider buying it for yourself or a fanatically book-loving friend–the person who only thinks they’ve read everything…
The podcast has accordingly devoted June to a series on 4 conversations with authors of those pithy and profound articles on lost great books .Recall This B-Side starts June 3 with Merve Emre (author of that great recent book about the Myers-Brigg test, now an HBO movie) praising an Italian novel about the joy, and the occasional necessity, of shooting your husband.
Later June weeks include conversations with RtB’s own Elizabeth Ferry, and the brilliant American novelist Caleb Crain. Tune in, won’t you?
Crossover Month continues with a scintillating Australian fiction episode from Novel Dialogue, a new podcast hosted by the awesome Aarthi Vadde of Duke, and RTB’s own JP. If you like what you hear, please share the love by recommending it to friends, tagging @noveldialogue in your tweets, and subscribing to it via Apple Podcasts, Spotify or Stitcher.
Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen’s novels range from the anti-patriarchy exuberance of Monkey Grip(1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion’s Two Friendsand Gillian Armstrong’s wonderfully Garneresque The Last Days of Chez Nous. After a reading from John’s favorite, The Children’s Bach, the trio discusses Garner’s capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father’s restlessness to her own life-total of houses inhabited (27). “Why wouldn’t I write about households?” asks Helen, “They’re just so endlessly interesting.”
Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That’s how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen’s writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There’s something about shaping a sentence, too, which can be musical.”
Crossover Month continues with something completely different, and only a little bit incestuous. Novel Dialogue is a new podcast hosted by the awesome Aarthi Vadde of Duke, and RTB’s own JP. John and Aarthi serve as the third wheel (or if you prefer the social lubricant) for a scholar and a novelist who sit down each week to explore the making of novels, and what to make of them. If you like what you hear, please share the love by recommending it to friends, tagging @noveldialogue in your tweets, and subscribing to it via Apple Podcasts Spotify or Stitcher
In Novel Dialogue’s second episode, critic and scholar Bruce Robbins sits down with Nobel Laureate Orhan Pamuk. They have taught classes on the political novel together at Columbia for years, and it shows. They ask how the novel can ever escape its roots in middle-class sensibility and perspective: Joseph Conrad comes up, and so does modern Brazilian film. Then they discuss the demonic appeal of Russian novels—and why retired military officers produced so many great Turkish translations of Russian novels.
We hear tantalizing details about Pamuk’s forthcoming pandemic novel, Nights of Plague. He discusses his move away from “highbrow ironical postmodernist” fiction and reveals his affection for talking about politics–along with his distaste for what the consequences of speaking out may be. “I am not shy about talking…but there are consequences!”
Kim Adams and Saronik Bosu share an office at the English department of NYU–and now they also share High Theory a podcast where you can “get high on the substance of theory.” Their lovable podcast always identifies a single manageable topic and asks three magic questions (what is your quest? is not one of them). Today that topic is “the pastoral”; in a role reversal, John asks the three questions of Saronik and Kim.
Topics covered include the joys of sharing an office, and the irony that podcasts mimic the very social face-to-face intimacy that they actually displace. John admits RtB’s informal motto, “After the conference, the bar” is blatantly cribbed from the cry of the Paris ’68ers: sous les pave, la plage (under the pavement, the beach).