My current work on this subject did not begin with the question of whether machines might one day develop consciousness. It began with an older, and perhaps more unsettling, observation: how little a machine has to do before a human being attributes understanding to it.
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A book is finished when it goes to print.
That is not true.
It is only the moment when the author stops being the sole owner of the text. Before publication, he can cut a sentence, close a door, send a character back into the room one more time. Afterward, other people enter those rooms. Readers. With their own histories. Their own impatience.
After Publication: What Remains of Without a Shred of Proof Read More »
There is a scene near the beginning of Window with Father that I wrote four times before finally letting it stand
Harold Berman, a novelist nearing his seventieth birthday, places one of his own books on a kitchen scale. He waits until the display stabilizes. Then he takes the book off again—as if the result had indicated an error. He puts it back on. The scale shows the same number.
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on “Without Any Proof” by Glenn Harrow There are novels you close after the last sentence and think: that was obvious. And there are novels you close and realize that somewhere along the way you stopped merely reading and started counting. Counting when the character lies, when she believes she’s lying, and when the difference
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Without Any Proof — Glenn Harrow Brooklyn, autumn. A theater, a spilled beer, a woman behind a book table. That’s how everything between Hank and Beth begins — and that’s how it stays: close enough to touch, far enough to miss each other. Glenn Harrow, author of the acclaimed psychological novel The Delilah Principle, returns
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There were too many people in the lobby for the space, and everyone acted like that was the point. Someone brushed past a stranger’s shoulder with an elbow, someone else laughed too loud, a couple stopped in the doorway even though the next people were already waiting behind them. Over all of it lay that thin heat you get when winter air trades places with body warmth.
My new Book — a first look of my new novel Read More »
There’s a sentence I keep hearing since the book came out. From people who write to me by email, on Instagram, sometimes even in messages you don’t really expect. It usually goes something like this: “I thought I was reading about someone else. And then I realized I was reading about myself.”
“The Delilah Principle”: First Reader Reactions Read More »
Some novels begin with a bang. Then there are novels that begin with a beer stain — on a beige linen shirt, in an overcrowded theater lobby in Brooklyn — and don’t let you go after that.
I’m writing that novel right now
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There is a particular way of talking about artificial intelligence that has by now become so entrenched we barely notice it anymore: the language of threat on one side, the language of salvation on the other. Apocalypse or utopia, loss of control or promise of deliverance. Both are projection.
AI Is No Monster. And No Friend. Read More »
At the center of this novel is Harry Hartman, a writer living in New York who is approaching his seventieth birthday. Outwardly, he moves through the city with wit, courtesy, and routine, but inwardly he has lived for years with an absence: his fragile relationship with his daughter Hannah.
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Children may not have adult words for manipulation, but they often recognize its atmosphere first. This article examines how emotional control inside families is absorbed through tone, tension, and the quiet burden of learning to manage moods before understanding their meaning.
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Some forms of control arrive loudly. Others disguise themselves as care, stability, and emotional responsibility. This article explores the Delilah Principle as a quiet system of influence in which power works through guilt, calibration, and the gradual surrender of self-trust.
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These excerpts from the novel Without any Proof by Glenn Harrow trace the developing intimacy between Hank, a meticulous theater technician, and Beth, a guarded bookstore employee. Their relationship begins with a chance encounter at a theater in Williamsburg and evolves through shared dinners in the Brooklyn apartment Beth shares with her observant mother, Nannie,
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Brooklyn. Ein Theaterfoyer, ein Schlüssel, eine Reise nach Lissabon. Drei Menschen auf dem schmalen Grat zwischen Annäherung und der Gewissheit des Verlassenwerdens. Beth wartet auf den Beweis, dass sie verlassen wird, und findet ihn nicht – weil er nicht da ist, weil er noch nicht da ist, weil sie ihn selbst erbringen muss. Hank schweigt,
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Henry Hartman will etwas aufbauen. Ein eigenes Beratungsunternehmen, eine berufliche Identität, ein Leben das ihm gehört. Seine Frau Patricia hat andere Pläne. In dieser Besprechung von Glenn Harrows Debütroman Das Delilah-Prinzip schauen wir auf eine Ehe, in der Kontrolle das Gesicht von Unterstützung trägt — und in der die gefährlichste Manipulation diejenige ist, die als
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Henry Hartman wants to build something of his own. A consulting business, a professional identity, a life that belongs to him. His wife Patricia has other plans. In this discussion of Glenn Harrow’s debut novel The Delilah Principle, we look at a marriage where control wears the face of support — and where the most
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