Luchita Hurtado, Untitled, 1970, oil on canvas, 30 x 50 inches / Courtesy the artist and Park View/Paul Soto, Los Angeles and Brussels Photo: Cole Root.
Los Angeles Review of Books: This Week


“When my first novel, The Last Samurai, was published, I was distraught at the loss of time because so many other books had been derailed. I went to agents with a postcard of Vladimir Horowitz, arms folded, standing in front of his Picasso. The pianist of genius had used the money he earned with his performances to buy a single Picasso, I explained. But Picasso owned every Picasso that ever existed. When he wanted to see what Picasso would do next, he went to his studio to do the next thing he wanted to do. If he had had to stop for a year to chase sales, what should he have done with the money? Buy a Braque?” In a piece from the LARB Print Quarterly Journal: No. 18Helen DeWitt rethinks “the machinery of legitimacy” that disempowers authors. 
“Whereas Beyoncé commands us to get in formation, Monáe pushes us to think about the multiple types of formations we might discover in the groove, in the sheets, and on the streets while also blurring the line between these contexts. With her “emotion picture,” Monáe asserts her debts to genres of feeling and film, of sound and movement, and of black radical imaginaries that precede her while also willfully scrambling, suturing, and signifying on these antecedents.” Adrienne Brown observes Janelle Monáe’s radical “emotion picture,” the 44-minute film accompanying the release of her latest album, Dirty Computer.
“I haven’t talked much about dad because he wasn’t really in my life after I was 10 years old (though he was in my life more than you or our sisters). Dad grew up wanting to be a TV anchorman … despite coming from a small logging town and having zero contacts … and yet he achieved that dream. … My father was a TV screen, and I knew that I was stronger than he was. So yeah, I could break into TV. No problem. And I did.” Writer Tod Goldberg interviews his older brother, writer Lee Goldberg.
On BLARBJoanna Chen visits Palestinian poet Dareen Tatour, who is facing up to eight years in prison.


Gregory Morrison is thrilled by Robert Aickman’s Compulsory Games, a collection of stories “as eerie as folktales and as plausible as a crime scene report.”
John Schneider works through David Graeber’s Bullshit Jobs: A Theory, a crucial “opening salvo” in a vital debate.
Emily Beaver appreciates the “brio and enthusiasm” of Joe Donnelly’s L.A. Man: Profiles from a Big City and a Small World, and Tom Zoellner interviews the author.


Maya Averbuch profiles a Salvadoran woman looking for a sister who went missing while trying to make it to America, with photos by Consuelo Pagaza.
Rui Zhong reviews  Lisa Ko’s debut novel, The Leavers.
Lisa Levy takes a look at “Bachelor Nation.”
LARB Channels and affiliates are a community of independent magazines supported by the Los Angeles Review of Books.





Sign up for Tom's Book Club to get a copy of Rachel Cusk's KUDOS, the final book in her brilliant trilogy, and be part of the discussion with Tom and Rachel. 


Luchita Hurtado (b. 1920 in Maiquetía, Venezuela), is a Los Angeles-based artist. Hurtado began her career as a fashion illustrator for Condé Nast and a muralist for Lord & Taylor, and she fell into an artistic scene that included Isamu Noguchi, Wilfredo Lam, Man Ray, and Rufino Tamayo, among others. Hurtado married the Austrian artist Wolfgang Paalen in 1945, and traveling between New York and Mexico City, her personal and artistic activity centered on the post-Surrealist Dyn group who sought to break away from André Breton and the Surrealists, seeking a new aesthetic and cultural order that looked to ancient Mesoamerican culture as its guide with its premodern blend of art, science, and religion. LARB is proud to have Hurtado featured in the latest LARB Quarterly Journal: No. 18 Genius Issue, as well as the featured image in this week’s newsletter, Untitled, 1970, oil on canvas, 30 x 50 inches / Courtesy the artist and Park View/Paul Soto, Los Angeles and Brussels Photo: Cole Root. 
LARB is a nonprofit 501(c)(3) and relies on reader support. Become a member today and we'll give you a variety of perks. Or make a one time, tax-deductible donation and you directly support an emerging writer, sponsor an event, provide a publishing workshop fellowship, and so much more. Donate online here or via post to the Los Angeles Review of Books, 6671 Sunset Blvd., Ste. 1521, Los Angeles, CA 90028. For all other inquiries, feel free to contact us at:
Copyright © 2018 Los Angeles Review of Books. All rights reserved.

Our mailing address is:
Los Angeles Review of Books
6671 Sunset Blvd., Suite 1521
Los Angeles, CA 90028

unsubscribe from this list    update subscription preferences 

Email Marketing Powered by Mailchimp