Jason Epstein, editor of literary and culinary greats (Norman Mailer, Alice Waters), co-founder of the NYRB, and life-long food lover talks with Charlie Rose about his latest book, Eating: A Memoir, and the past and future of book publishing.
"Reading Literary Twitter is to witness brief, terse glimpses into the writerly psyche, and how insecure and unsure and thin-skinned we tend to be. As writers, we want to be validated. We want to matter. The published stories and poems and essays, the books we sell, the magazines we edit: all this output, this paper expelled out to the world, the screens we invade with our narratives, it all matters to us. But does it matter to everyone else?" mensah demary writes about the good, the bad, and the slightly neurotic of being a writer on Twitter for Electric Literature.
io9 offers up "The Twenty Science Fiction Novels that Will Change Your Life," from Frankenstein to Pattern Recognition. (via)Cathleen Schine on the charms of Peter CareyThe "Thomas Bernhard cult" claims a new initiate.F.O.T.M. (Friend of The Millions) Lydia Millet talks about "endangered species, the idea of motherhood, and her stint at Hustler.""Why do scribblers make drinking their second art? For one thing, it primes them for their task." Writers and booze.Some American Studies undergrads at The University of Virginia have put together an online exhibit titled "The New Yorker Magazine in the 1930s."NPR's "In Character" segment considers Hawthorne's Hester Prynne.
It’s been forty years since a burst of new critical attention gave Anthony Trollope a new life. What is it about him that makes his work enduringly relevant? In the latest New Yorker, Adam Gopnik argues that the author was a master of gossip. You could also read Sara Henary on the author’s two hundredth birthday.
"In publishing, we see this play out in a number of ways. Marginalized writers are told by white editors, we need your stories now more than ever, as if we have not always needed them urgently. We are told our experiences are timely, exotic, and trendy. We are told our stories are not authentic if our characters do not suffer, as if the only way to prove that we are human is to bleed." Natalia Sylvester on the erasure that comes when marginalized writers are constantly being told by the publishing industry and others that your book about your marginalized identity is 'timely'.
"The clash of genre values is fundamental to the novelistic experience. That’s how we ought to be thinking about our books. Instead of asking whether a comic book could be “as valuable” as King Lear, we ought to ask how the values of tragedy and romance might collide." Joshua Rothman writes about the coming "collapse of the genre system" and our own Emily St. John Mandel's National Book Award short-listed Station Eleven for The New Yorker.