The New Yorker: Briefly Noted

“The Widower’s Notebook, by Jonathan Santlofer (Penguin). In this memoir, a novelist and artist contends with the sudden death of his wife. Santlofer adds new insights to the familiar genre of the grief memoir by exploring the ways in which men are expected to handle loss and sorrow. “ ‘Men do not write books about grief’ was something I heard a lot and even told myself,” he notes. Between tender recollections of his wife and attempts to return to a version of his routine, the author realizes that he has been culturally conditioned to divert his energy into pretending to be strong and moving on quickly, and he struggles to discuss his anguish openly, even with his daughter.” The New Yorker Briefly Noted READ HERE

Writing at the Dark End – Reading Party Event – The New Yorker

by Macy Halford It was criminal how sexy it was. Writers of different genres intermingling, their poisons of choice (Pinot Grigio, Pinot Noir) placid in Dixie cups. Bright lights, marble busts of dead authors, buttercream-yellow walls and crown molding, an overwhelming air of camaraderie. This was the scene last night at the old Mercantile Library, on East 47th Street, now the Center for Fiction and home (for an hour) to a reading of The End of a Dark Street. The editors of this decidedly transgressive anthology, S. J. Rozan and Jonathan Santlofer, stood and explained their reasoning: by bringing literary heavyweights (among them Madison Smartt Bell, Francine Prose, Amy Hempel, Edmund White) together with crime-fiction heavyweights (among them Lee Child, Laura Lippman, James Grady, Lawrence Block, Val McDermid), the literary legitimacy of crime fiction might be demonstrated: all the stories were so good, Rozan said, that one could not tell which were written by the … Read more