The Washington Post offers a long profile of the still underappreciated Edward P. Jones. We learn he hasn’t put a word of fiction to paper in four years but has been writing in his head. “‘I write a lot in my head,’ he says. ‘I’ve never been driven to write things down.'” (via @keelinmc)
Profiling Edward P. Jones
In a Fugue State
“Could I write a novel about fugues in the form of a fugue?” Margot Singer wonders in The Paris Review, remembering the process of writing her first novel and considering other authors – Joyce, Nabokov, Woolf – who have tried to compose words musically. See also: our own Jacob Lambert on whether to write with background music on.
Necessary Nabokov
Christopher Michel discusses The Secret History of Vladimir Nabokov – a book that challenges the long-held consensus that Nabokov was merely an aesthete.
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Poets & Writers’ MFA Rankings
This week I linked to one poet’s concerns about the top MFA programs ranked in Poets & Writers. Now, a pretty impressive list of creative writing instructors have some questions for Poets & Writers itself.
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The Readability Myth
Is readability a myth? In an article for The Atlantic Noah Berlatsky argues that there are no “easy” or “difficult” books, or rather that these are relative terms – a book that gives one person fits may be light reading for someone else. His argument pairs interestingly with our own Emily Colette Wilkinson‘s “Difficult Books” series.
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“And I know my rights so you gon’ need a warrant for that”
Just what you’ve always wanted: a “line-by-line analysis of the second verse of ’99 Problems’ by Jay-Z, from the perspective of a criminal procedure professor!” (PDF)
Six Plots Part II
I’ve written before about Matthew Jockers‘s claim, as reported and presented by the Paris Review, that there are only about 6 plots in fiction. Now Dan Piepenbring returns to the Review to respond to critics who and attempt to answer the questions “is it really possible to assign every word a reliable emotional valence? And even if the answer is yes, can we really claim that all the plots in the history of literature take so few basic forms?”
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