IN the interplanetary debris field between Mars and Jupiter is the asteroid 46610 Bésixdouze. Discovered in 1993, its name was suggested by Czech astronomer Jiří Grygar in honour of The Little Prince. The title character of that singular cosmic fairytale by Antoine de Saint-Exupery fell to Earth from a fictional asteroid designated B612, so this coding was rendered into phonetic French and hexadecimal notation for its real-life namesake. The author himself had drawn those specific figures from the registration of a plane he flew as an airmail pilot over the Sahara Desert in the 1920s.
FOR years he was a ghost. Then, suddenly, a corpse. On the night of May 1, 2011, President Barack Obama announced that US forces had located and killed Osama Bin Laden at a compound in Abbottabad, Pakistan. More of the details emerged in later statements from the White House, Pentagon and CIA, some of them contradictory.
AT this late stage of his life and career, Don DeLillo has been called a prophet so often, for so long, that he is now being sold as such. The publicity materials for his latest novel draw heavily on quotes and blurbs from peers and critics awed by Delillo’s prescience – his spooky receptivity to currents and portents in the culture, his novelistic gift for reading runes in news and sports and weather reports, then telling us how we’re going to die.
In the early 1990s, Susannah Clarke started making notes for a story. She was teaching English to Fiat automobile executives in Turin, and then to equally “sweet and overworked” Basque business types in Bilbao. But she was also thinking idly about the English winter, and the picture on a jigsaw puzzle she used to have, which showed two old gentlemen in 19th century wigs, reading books in a huge library.
SUKKWAN Island, Caribou Island, Dirt and Goat Mountain. For a while it seemed that David Vann was not only building a body of work – and quickly, at a rate of almost one book a year – but also drawing some kind of map.
AN army brat born in Munich and raised on US bases in the Philippines, Japan, and the outskirts of Washington D.C., Denis Johnson had seen the world before he published a word. He started pretty early though, with his first poetry collection at the age of 19, and has since written stage plays, crime thrillers, foreign correspondence, dirty-realist short stories and post-apocalyptic fictions, a monumental fugue of a Vietnam War novel, Tree Of Smoke, and a luminous Old West novella, Train Dreams.
HARUKI Murakami has nothing to say. The author admits this himself, and often claims to be a bit baffled by his ongoing compulsion to write, given that he has no particular points to make, nor even any stories to tell. He gets up at four every morning, sits down to his desk, and starts composing… Read more »
A COUPLE of years ago I interviewed the novelist and essayist Geoff Dyer for this newspaper at his home in London. We talked mostly about his then-new book Zona, a typically chatty (and characteristically unclassifiable) treatise on the Andrei Tarkovsky film Stalker. Dyer also told me that he had just spent two weeks as a writer-in-residence aboard a US Navy aircraft carrier in the Persian Gulf. “And how was that?” I asked, perhaps hoping for some caustic drawing-room witticism. “Fantastic,” he said. “I love the American military.”
THERE is a place called the Zone, which looks more or less like the world we know, but the colours are fuller and brighter, and the natural laws are not quite so constant. Within the landscape of the Zone, there is a Room, where a person’s deepest desires are supposedly fulfilled. This is the premise of Stalker, a monumentally slow and meditative film made in 1979 by Andrei Tarkovsky. Relatively few people have seen it. “Not as many as have seen Lock, Stock, And Two Smoking Barrels,” admits Geoff Dyer. “But among those who have, you often hear that this film has been a big thing in their lives.”
IN 2007, the year before he was elected president, Barack Obama told a biographer that his favourite writer was E.L. Doctorow. To my mind, Obama’s political opponents did not make as much of this as they could have. Taken together, Doctorow’s body of work might easily be painted as a fictional analogue to Howard Zinn’s People’s History Of The United States – a liberal-secular rejection of America’s sustaining narrative, a chronicle of the betrayal or disfigurement of the nation’s original promise.