Julie Delphy‘s second film as writer/director/actress is released in Europe this month. The subject is 16th century Hungarian/Transylvanian countess Erzsébet Bàthory, known for murdering young girls to bathe in their blood and considered by some the first female serial killer. Judging from the trailer, Delphy’s film doesn’t appear to equal earlier visions of the Bloody Countess (French Surrealist Valentine Penrose‘s hallucinatory biography, for example, or Terry Gilliam‘s Mirror Queen (Monica Bellucci) in The Brothers Grimm).
The modern maestros of fantasy at Bethesda Softworks penned thousands of pages of text for the Elder Scrolls series, scattering 256 detail-packed, in-game books across 2006’s Oblivion, with a commensurate amount in 2002’s Morrowind. Presumably these tomes were consumed by the hardcore few. Did Bethesda spend countless hours of careful word-crafting for a fanatical minority?
It’s notoriously difficult to figure out how to make a living as a freelance writer. The process forces the writer to learn the finer points of negotiation. At the Ploughshares blog, Steph Auteri writes about the “abstract mathematics” of her freelance career, presenting a list of everything she considers before taking on an assignment. Pair with: our own Nick Ripatrazone on teaching the business of creative writing.
The newest issue of Granta features some seriously captivating work, like this poem by Juliana Spahr and this story by Lorna Gibb, among many others. This “Possession” issue pairs well with an essay by our own Lydia Kiesling on possessing one’s own words and the narrative potential of leaked emails.
Villanelle Bot, a Twitter bot that composes poems in villanelle form, is publishing the automated poetry on their blog. The bot uses Twitter posts from random people, then stitches together all lines that end in certain words to form a full poem. You could also check out our piece on the best of literary Twitter.