The Row
When we first started, we wanted to have a front man because we just knew how hard it was going to be.Mary-Kate Olsen
When we first started, we wanted to have a front man because we just knew how hard it was going to be.Mary-Kate Olsen
Invalidenfriedhof
Berlin, Germany
December 16, 2009
“Writers in cemeteries around the world? That book already exists. Cees Nooteboom wrote it.” I remember turning very red on that day in early 2009 when my colleague at Deutschlandradio Kultur spoke those words. “He made it in collaboration with his wife, a photographer.” My heart throbbed in my throat. I went to the nearest computer to do a search and found Nooteboom’s book Tumbas: Graves of Poets and Thinkers. I eased myself into the office chair. Nooteboom had not written about any living authors in cemeteries.
We have no patience with death these days. The idea of letting our every third thought be the grave seems inadmissible in a society that values above all a paradoxical mixture of speed and immortality. The stories we prefer must be told quickly, and allow for little pause and less reflection. Our preferred condition is foolishness.
Writer made international breakthrough with 1980 novel Rituals and won acclaim for his travel writing
The Dutch writer Cees Nooteboom, whose novels, travel writing and translations made him a prominent literary figure in postwar Europe, has died aged 92.
On afternoon in September 1979, Linton Weeks was working at Volume One bookstore in Clarksdale, Mississippi, not far from Harris’s home-town of Rich, when a familiar-looking customer came through the door. The man wore glasses and a beard, and his head was covered in curls. It didn’t take long for Weeks to figure out his guest’s identity. For a while now, rumors had been circulating around the Delta that Tom Harris had come home.

What time of day do you write?
I rarely write. I’m mostly inside of my head when I’m figuring out stories, so I don’t sit down and write all that much. I like keeping it inside my head, away from the page, so it can sit in my brain and get weirder as I hold onto it.
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| Harry Crews |
I was initially drawn to Harry Crews because he had a mohawk and a tattoo of a skull, and I was twenty years old and had neither. I read Harry Crews because I wanted to figure out how, if you were a Southern writer, you didn’t simply cover the same terrain that writers like Faulkner and Welty and O’Connor and McCullers had already exhausted. I wanted to know how you leaned into what it meant to be Southern when you weren’t even sure what that meant, exactly. And I came away from Harry Crews knowing, on some level, that I wouldn’t ever write like him, could never open the wounds with the kind of ferocity that came only from knowing you’d survive it, because you’d survived much worse. And I remain a fan of Harry Crews because I still don’t know that I’ve read anyone quite like him.
“A Feast of Snakes” by Harry Crews is searing, hypnotic, disgusting, brutal, visceral, hilarious, and deeply tragic. It’s a book that grabs you like a pitbull and locks its jaw.

By John L. Williams.
A Preamble
Harry Crews was the last great proponent of the Southern Gothic — possessor of a blazing talent, whether displayed in a dozen fine novels, some outstanding longform journalism or an indelible memoir, A Childhood. This last has just been paid the deserved tribute of reissue as a Penguin Classic. Crews’ star, a decade after his death, is once more in the ascendant.

Harry Crews, 1979 © Mark Morrow. Courtesy the Mark Morrow Photograph Collection, 1977–2010, Irvin Department of Rare Books and Special Collections, University of South Carolina Libraries. An exhibition of Morrow’s photographs will be on view beginning in September at the Koger Center for the Arts at the University of South Carolina, in Columbia.
One night in early 1941, when Harry Crews was five years old, his father nearly killed his mother with a twelve-gauge shotgun. Looking back almost four decades later, Crews didn’t find that fact particularly exceptional. This was Bacon County, Georgia, where in those days “it was not unusual for a man to shoot at his wife,” as he wrote in his memoir A Childhood: The Biography of a Place. “It was only unusual if he hit her.” Crews and his older brother heard the shot, which blew the mantelshelf off the fireplace, from their shared bed. The shot—and the silence that followed. They fled on foot, mother and sons, down the dirt road to an uncle’s house, and the next day boarded a Greyhound bus to Jacksonville, Florida. In A Childhood, Crews recalls the details of their escape: the hurriedly packed straw suitcase, his father’s fury and frantic pleading, the sight of him frozen in the doorway under a kerosene lamp. And then, in the darkness of the road, a bizarre vision: “I began to feel myself as a slick, bloodless picture looking up from a page, dressed so that all my flaws whatsoever but particularly my malformed bones were cleverly hidden.”

Two weeks after the novelist Harry Crews died, the Times appended a correction to his obituary. The original version had reported that as a child “he fell into a cauldron of scalding water used to slough the skin off slaughtered hogs.” The correction clarified that the scalding water was for sloughing off the hair.
At the end of the profile that Harper Lee wrote of Truman Capote when he published In Cold Blood, she speculated that “Kansans will spend the rest of their days at the tantalizing game of discovering Truman.” It was an odd claim; Capote loved publicity so much that even before he died, there was little left to discover about his time in Kansas, or anywhere else. Lee, by contrast, was so elusive that even her mysteries have mysteries: not only what she wrote, but how; not only when she stopped, but why.
In 1927, Richard de la Mare had an idea for some Christmas cards. Because he was a production director at London’s Faber & Gwyer, his cards were festive poetry pamphlets that could be sent to clients and sold to customers for one shilling a piece. Because two years earlier Geoffrey Faber had lured a banker from Lloyd’s Bank to work as an editor at his publishing house, Faber & Gwyer had T. S. Eliot to contribute to the series.
I was hiding out in Frankie Johnson’s car, a canary yellow '69 Super Bee that could shit and get. We were on a spree, stealing anything we could get our hands on—tape players and car batteries, gasoline and beer. It was a day or two after my sixteenth birthday, and I hadn't been home in a week. And even though my old man was telling everyone around Knockemstiff that he hoped I was dead, he kept driving up and down the township roads with his head out the window looking for me like I was one of his lost coonhounds.