The Cleveland Plain-Dealer published an interview with Calvin and Hobbes creator Bill Watterson, reportedly his first since 1989. The Washington Post talked to the Plain-Dealer reporter about how he scored an interview with the reclusive cartoonist.
Bill Watterson Speaks
“To do so, I felt, would be too dangerous”
Over at Electric Literature, Tara Isabella Burton likens the experience of reading her ex’s favorite book – in this case Stefan Zweig’s Beware of Pity – to “rifling through someone’s letters after a death.”
The PEN World Voices Line-Up
PEN World Voices, the great annual festival of International Literature, unveils this year’s lineup for the week of April 26, in New York and elsewhere. Highlights include Norman Rush, Patti Smith, László Krasznahorkai, Rodrigo Frésan, and Sherman Alexie‘s “Freedom to Write” lecture.
Where Is My Mind?
Do our brains determine how we write? Joyce Dyer explores the possibility that genre is influenced by how our brains are wired but wonders if that limits us. “The page may be forcing compromises that the brain, in such close relationship with the mind, must rightly refuse,” she writes.
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A Return to Form
“As a writer, it’s not like all experience is useful, but when something is troubling, a form can present itself as a way to think. To put what is essentially chaotic into a container where it can be what it is.” The Rumpus interviews John Freeman, the Executive Editor of LitHub, about his recent literary projects, the death of his mother, and empathy. Pair with: Contributing Editor Nick Ripatrazone‘s Year in Reading which includes Freeman’s debut poetry collection, Maps.
They’re Coming. I Can Feel It.
Step One: “an unusual flying object that propels itself by flipping inside out.” Step Two: flying books!
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Watching Olive Kitteridge
A couple of weeks ago, I pointed readers to the trailer for Olive Kitteridge, the new HBO show based on the Pulitzer-winning novel by Year in Reading alum Elizabeth Strout. In this week’s New Yorker, Emily Nussbaum sizes up the new series, describing it as a case study in bringing a work of fiction to the screen. “In the course of four hours, the miniseries casts a West Coast spell on scenes of Yankee repression,” she writes.
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