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Novelist Joshua Cohen is interviewed at Bomb. In the interview conducted by Dan Duray, Cohen discusses some of the numbers behind Book of Numbers:

So let me just state for the record: There are an even number of paragraphs in every section of the book. There are an even number of sentences in every paragraph. It’s all about the evens. After all, the name of the company is Tetration. Hyper-4 …

Principal’s clauses are formed, and deformed, by Sanskrit prosody—which itself is a basis of binary notation. I counted words, I counted syllables. I drove myself crazy. All to ensure this flatness of affect. Or, more accurately, all to ensure a surface that was perfectly flat until the logic of the system threw a kink into it—until the logic destroyed what it had made—what it had made to be perfect, unimpeachable.

The result according to a New York Times review: “reads as if Philip Roth’s work were fired into David Foster Wallace’s inside the Hadron particle collider.”

Two things often said about James Salter who passed last week at 90 is that he was a writer’s writer and that his work did not sell well. Here is Vulture making More… “Joshua Cohen’s numbers, rest in peace James Salter, and more”

Richard Abowitz is the editor of The Smart Set. Get in touch at rabowitz@drexel.edu.

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There’s a delightful essay in the 90th anniversary issue of the New Yorker, in which longtime copy editor Mary Norris expounds on her craft, with particular attention to the comma, and defends, almost successfully, the magazine’s indefensibly arcane comma style in sentences like “When I was in high school, at Horace Mann, in the Bronx, in the nineteen-seventies, everyone took pride in the brilliant eccentricity of our teachers.” (“I really don’t see how any of them could be done without.”) My favorite passage involves her questioning the idiosyncratic commas in James Salter’s novel Light Years. She’s sure Salter is too careful a writer to make a mistake; so why then does he insert an unnecessary comma in a line about a “thin, burgundy dress” that shows the outline of a woman’s stomach? And later: “that stunning, wide smile.” A ship’s “black, stained side.”
More… “Much Hinges”

Elisa Gabbert is the author of L’Heure Bleue, or the Judy Poems (Black Ocean), The Self Unstable (Black Ocean) and The French Exit (Birds LLC). Follow her on Twitter at @egabbert.

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