Spend too long in Screenplay Fantasy Land, and you’ll incur Screenplay Fantasy Debt.
Have novels about love lost their gravitas as women’s liberation and divorce culture have taken over? Adelle Waldman doesn’t think so. In The New Yorker, she defends the timelessness of the marriage plot. “As long as marriage and love and relationships have high stakes for us emotionally, they have the potential to offer rich subject material for novelists, no matter how flimsy or comparatively uninteresting contemporary relationships seem on their surface.” Pair with: Our Jeffrey Eugenides essay on writing The Marriage Plot, which is referenced several times in Waldman’s essay.
“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.