THOMAS LARSON

(Quillette August 15, 2024)

Though I’m a happily terrorised fan of John Krasinski’s dystopian films, A Quiet Place (2018) and A Quiet Place, Part II (2020), a question has been stalking me since their premieres. In these first two films, giant, human-gobbling praying mantises fall to earth and begin annihilating humankind. They cannot see, so they navigate and hunt by sound, their acute hearing provoking them to attack even the faintest sound. But why are they doing this? This remains a maddening mystery. Hunger? Malice? Revenge? The racket of our outdoor concerts and football games, interstate traffic, explosive munitions in Gaza and Ukraine, the mind-frying hum of our electrical grid and data mines? The chilling horror in the first two movies unfolds without explanation.

(La Piccioletta Barca June 15, 2024)

1 / For two decades, the Edinburgh University Press has been publishing a series of volumes under the group title, the “Edinburgh Companions to Literature and the Humanities.” Considering the "death of the humanities," declared far and wide a fait accompli, these compilations are brave undertakings, exhaustively conceived and handsomely produced. They weigh up to five pounds, run to 500 pages or more (Moby-Dick length), and are squintable in 11-point type. Reference tomes, morbidly expensive. One recent cast member is the Edinburgh Companion to Vegan Literary Studies, 422 pages at $165. The volumes are like valentines, sent to and from the professorial class: The mission is for scholars to bestow academic gravitas on beloved literary forms and authors. The audience is the English-speaking literate realm—the Modern Language Association horde and whatever its org is called in the United Kingdom. That audience (and curious writers like me) insists on academic writing. The learned “paper” confines and confirms a community of university-trained readers, who fetishize literary forms in prose stylings fortified with rhetorical distance and, at times, affected jargon.

(River Teeth May 10, 2024)

1 / One thing we learn from the later-in-life memoir, or the personal essay writ long, is that it allows us to see the many digressive routes we’ve followed only after a good deal of life has resulted in our “ending up” on any one of these routes, a place much different than where we thought we’d be. Soren Kierkegaard spoke of living life forward, understanding it in retrospect, and Carl Jung said, “One finds one’s destiny on the path one takes to avoid it.” Fate never fails us; it’s got our welfare in mind, but bugger that it is, won’t reveal the plot until, well, it’s time. Because of our unexpected “off ramps,” we need to wait a while and then we may recognize a plan—perhaps the plan—that provides us with some sense of meaning. At times, a pattern to our directionlessness emerges, and anyone, even fools, can say it’s been predesigned. Think of Donald Trump assessing his 78 years (I know it’s a stretch) as a kind of Destiny: the TV brand, elected President on a fluke, convinced that he’s America’s Lord and Fricking Savior.

(AWP Writer's Chronicle February 1, 2024)

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Since the 1990s, most memoirists have made the subjects of their books and essays relational—the interdependency between the author and a parent, a child, a place, a career, a disorder, a failure. Frank McCourt’s Angela’s Ashes was a grand tour of his miserable Irish childhood and family. Elizabeth Gilbert’s Eat, Pray, Love, was a search for culinary, spiritual, and sexual contentment on three continents. Every writer is tightly joined to these ineluctable pairings; she need not travel far to dig into what she knows for what she doesn’t know. The relationship, confrontive and companionable, is key to the author’s self-discovery

(Quilette January 24, 2024)

On January 23rd, the Academy of Motion Picture Arts and Sciences announced that Cord Jefferson’s debut film, American Fiction, has been nominated for five Academy Awards, including Best Picture, Best Actor, and Best Adapted Screenplay. Jefferson’s film certainly merits the acclaim—American Fiction is a cinematic treasure, scarily original in its depth and chutzpah. But if the race-conscious Academy decides to reward the film’s black cast and writer-director in the name of diversity, it will be a satisfying irony—one of the film’s many pleasures is the intelligence and wit with which it injects its impudence into our culture’s prevailing racial sensibilities.

(The American Spectator January 2, 2024)

One of poststructuralism’s simplest dictums — if you can say any French literary theory seeks simplicity — speaks to why the world and our experience of it is not organized with binary oppositions, gender inherency, or the like, say, good and evil, man vs. nature. Life is just too fluid, too random. The philosopher elites didn’t invent rhetoric to systemize argument. Rather, rhetoric arose to handle the tensions of daily exchange, involving a lot of haggling and fisticuffs. Indeed, neither the material nor the spiritual realms exist as pre-planned no matter how much categorizing we insist they answer to. Sometimes our lives stumble on a purpose, which, the stumbling, is the point — purpose is not intrinsic. I was reminded of this poststructural axiom often while reading Sam Forster’s Americosis.

(The Rumpus October 25, 2023)

In a "By the Book" chat with the New York Times in 2014, writer Teju Cole was asked to describe a favorite or underrated writer. Citing Lydia Davis and Anne Carson as brilliant and ignored, he then called the conventional form of the representational novel “overrated” and added, “the writers I find most interesting find ways to escape it.” His own breakthrough fiction, Open City, published three years before, surveys the cross-Atlantic or bicontinental psychology of its Nigerian American alienated protagonist, Julius, who wanders New York City in a W. S. Sebald–like mapping of self and surroundings. Much praised, Cole’s book didn’t escape the conventions of the real-life-centric novel and, for the next decade, he put fiction aside. In the interim was a reissue of his 2007 debut novel, Everyday Is for the Thief, set in Lagos, along with two essay collections and two books companioning photography and text.