I suspect most people reading this blog are familiar with Ira Silverberg already, either from his days at Serpent’s Tail, his role at CLMP, his stylish dressing and giving of great quote, or his time as an agent at Sterling Lord Literalistic. And I’m sure most everyone knows that he was recently named as the new literature director at the NEA. Regardless (or irregardless), the NEA posted an interview with Ira that’s definitely worth checking out:
NEA: What do you hope to accomplish while you’re at the NEA?
SILVERBERG: My goal is make sure our grantees in literary publishing—the non-profit presses and journals—are set up for the new digital age. There is a great deal of technical assistance needed to be a good publisher these days. Many of our grantees have grown up more as curators of great art—but getting it out in a difficult and changing publishing environment is a new part of the challenge. I hope that’s where the literature department can make a difference in the next few years.
NEA: What are you most proud of accomplishing in your career to date?
SILVERBERG: Seeing the first copy of a book I’ve edited or represented as an agent always provokes a feeling of great pride. Working with great writers for so many years still provides a great thrill. What could be better than helping get their words out into the world? Having three clients—Adam Haslett, Christopher Sorrentino, and René Steinke—nominated for the National Book Award in fiction has been a thrill; seeing former child soldier Ishmael Beah hit number one on The New York Times bestseller list was one of the most emotionally satisfying moments in my life; and helping to secure publication in The New Yorker for clients like Gabe Hudson, David Bezmozgis, and Sam Lipsyte always makes me feel triumphant.
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
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The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .