Freeman's: The Future of New Writing
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- 12,99 €
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- 12,99 €
Description de l’éditeur
A diverse anthology of poetry, fiction and essays from the most exciting writers around the world in this “fresh, provocative, engrossing” literary journal (BBC.com).
The literary anthology Freeman’s, created by writer, critic, and former Granta editor John Freeman, has quickly gained an international following with wide acclaim. It has been called “bold [and] searching” by the Minneapolis Star-Tribune and “impressively diverse” by O Magazine. This issue introduces a list of more than twenty-five poets, essayists, novelists, and short story writers from around the world who are shaping contemporary literature and will continue to impact it in years to come.
Drawing on recommendations from book editors, critics, translators, and authors from across the globe, Freeman’s: The Future of New Writing includes pieces from writers aged twenty-five to seventy, from almost twenty countries and writing in almost as many languages. This will be a new kind of list, and an aesthetic manifesto for our times. Against a climate of nationalism and siloed thinking, this special issue celebrates a global view of where writing is going next.
“The oldest is 70. The youngest, 26. In between, the best list of this kind I have ever seen.”—Marlon James
PUBLISHERS WEEKLY
The latest installment in a series of themed anthologies from Freeman (How to Read a Novelist) explores, as his introduction notes, multiple "vectors of power," and not simply the "flagrant and breathtaking abuses of power ongoing right now." The selections range from prose nonfiction to poetry and graphic essay, and come from such long-established authors as Margaret Atwood and Julia Alvarez, as well as newer voices like Nicole Im and Edouard Louis. In "A Note on Penelope' & Rereading the Classics,' " Alvarez recalls breaking with the domination of the literary canon by "works mostly by white male writers." In "On Sharks and Suicide," Im writes intimately about powerlessness in relation to suicidal thoughts. Some pieces are searing in their search for answers. For example, in "Captive," Nimmi Gowrinathan finds the Stockholm syndrome framework inadequate for understanding female kidnapping victims who seem to identify with their captors, because "it is in fact a lifetime of oppressive moments the dark molecular makeup of her politics that matters." From the abstract to the literal, there is no shortage of provocative, thoughtful pieces here.
