• November 23, 2015

    Patricia Highsmith

    Patricia Highsmith

    David Remnick reports on the group Raqqa Is Being Slaughtered Silently, “a kind of underground journalistic-activist enterprise that, under the threat of grisly execution, smuggles images and reports on ISIS from Raqqa to its allies abroad.”

    Screenwriter Phyllis Nagy discusses her screenplay for Todd Haynes’s Carol, his new adaptation of Patricia Highsmith’s 1952 “cult lesbian classic” The Price of Salt. How did Highsmith “get to the fundamentals of love?” Says Nagy: “Part of this is Pat Highsmith’s own peculiar psyche, which was obsessional. All the great novels about love—Madame Bovary, all sorts of things like that—are really obsessional. I mean that in the largest sense possible. There are elements of The Price of Salt that are fairly stalker-esque, which fits in very nicely with Pat’s general body of work.”

    Asked by the New York Times which three writers she would invite to a dinner party, Mary Gaitskill remarks: “Three writers together would be a nightmare of obstreperous self-consciousness. Somewhere in heaven I can visualize Nabokov and Woolf deep in illuminating conversation or bonding over a celestial game of something.”

    Tomorrow in Washington, D.C., poet and critic Stephen Burt (Close Calls with Nonsense) will be the first participant in the National Book Critics Circle’s new series of literary talks, “Making the Case,” which will address the role of criticism in contemporary culture.  

    The New Yorker has started a new, online-only feature titled New Yorker Novella, which will showcase longform fiction. The first piece is “In Hindsight,” by Callan Wink.