On the occasion of Scribner’s publication of the “Restored Edition” of A Moveable Feast, Gioia Diliberto, biographer of Ernest Hemingway’s wife Hadley, writes of her discovery of the Hadley Hemingway tapes.
Mark Athitakiswrites about the National Book Award in 1980, “an interesting time for the prize.” The previous year, publishers pulled out of the awards, contending according to an NYT article, “the awards favored little-read books.” (This criticism resurfaced in 2004.) After 1980, the festivities ballooned to eight fiction categories before eventually being scaled back in subsequent years. (via Maud)
In Slate, Nathaniel Richwonders why “the most peaceful people on earth [Scandinavians] write the greatest homicide thrillers.”
The “Significant Objects project,” in which worthless trinkets are sold on eBay along with original fiction written about said worthless trinkets, has launched. Participants include Curtis Sittenfeld, Lydia Millet, Matthew Sharpe, Sam Lipsyte, and a few dozen others. The eBay auctions can be found here.
Over at The Paris Review, Wei Tchoutravels toFlannery O’Connor's farm in Georgia. As she writes, “The charm of Andalusia lies in gestures like this, the ones that urge you into feeling as though you belong. The place isn’t a fossil, it’s a home.” Pair with Nick Rapatrazone’sMillions essay on teaching and learning from “the greatest American writer ever to load up a typewriter.”
Over at Slate, Mike Vuolo speaks with Bob Garfield about "African-American English," or, as some might say, "Ebonics." The two of them explore its history, misconceptions, and whether or not it's possible or even appropriate for a white writer (such as The Help author Kathryn Stockett) to attempt to write in the dialect of certain African-Americans.
John Cline is retracing the Great Migration route from New Orleans to Chicago for his Oxford American column, “Arterial America.” In his latest dispatch, he discovers Jackson, Mississippi’s hip-hop community.
Year in Reading alumnusAlexander Chee writes about the impulse to write fiction, his first novel, and unpublished manuscripts in an essay for the Center For Fiction's Why Fiction Matters series. "The first story I ever invented for public consumption was in a book report back in grade school. I had made a vow to read every book in my grade school library, and at some point, as I made my way through them, I remember very clearly understanding that there was simply no way my teacher would know about every book ever published—this was before the Internet—and so I decided I would make one up and see if she noticed." Pair with this Millions piece, featuring six writers looking back on their first novels.