Remember that preview for Death to Smoochy, where the voice-over proclaimed, “From the twisted mind of Danny DeVito?” Me neither. But if twisty minds are your thing, you should check out this page from Gay Talese‘s outline for the classic “Frank Sinatra Has a Cold,” written on a shirt cardboard. (Remember shirt cardboards? Yeah… Me neither.)
Combing through Gay Talese’s Laundry…Sort of
Working Title
Our own Hannah Gersen writes for Catapult on titling her debut novel, Home Field. As she puts it, “The idea that a title could dissuade a reader was not something I had even considered.” Pair with Bill Morris’s Millions interview with the author.
●
●
Non-Issues
“As a gay man, I would argue that gender and sexual identities are irrelevant, complete non-issues.” Alexandre Vidal Porto talks with our own Bruna Dantas Lobato about Brazilian fiction, gender identity, and his second novel, Sergio Y., at BOMB Magazine.
●
●
Reading Rainer Maria Rilke’s Poetry During a Pandemic
Elizabeth Gonzalez James reflects on why she finds herself reading the poetry of Rainer Maria Rilke in the midst of lockdown and how it's a salve to her feelings of confusion and frustration.
●
●
●
Colson Whitehead’s Two Types of Books
“There’s only two kinds of books, shit you like, and shit you don’t like," Colson Whitehead told the crowd in his lively AWP Keynote.
●
●
●
Law and Order: Library Edition
“We don’t want to run a for-profit business, or even a break-even business that’s based on income. It’s something that would not return a great deal of money for us and would create an adversarial role.” The Huffington Post reports on the growing number of libraries dropping overdue fines. Pair with Daniel Penev on why public libraries have a more vital role to play in the culture than ever before.
●
●
Make It New
“After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of ‘realism.’ It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop (‘this isn’t a story,’ ‘this is poetry,’ ‘what is this’), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life.” Susan Steinberg asks what happened to American experimental writing.
●
●