Vuvuzela Time

“For me, authenticity of setting is a kind of sine qua non for the feeling that a scene has been correctly done. I become unnerved if I haven’t got a ground plan, don’t know where my characters are. It’s a matter of personal psychology, I guess. I’ve always collected notes on settings. Most, of course, I’ll never use.” At the Tin House blog, Tim Horvath talks shop with Norman Rush.

Recommended Reading: Over at The Offing, a new story by Joy Williams describes what happens when a sad group of American tourists goes to Cornwall, England.

Friend of The Millions Edan Lepucki has a short story in the most recent LA Times West Magazine, “Salt Lick“. Congrats!I’ve heard of publishers throwing in a free bookmark to help sell copies of a new book, but gold?Oriani Fallaci, the fiery (and athiest) Italian journalist who recently passed away, bequethed her library to a Pontifical university.Boston Globe columnist Alex Beam takes the Sony Reader for a spin and isn’t impressed.Did you know that among this year’s finalists is the first graphic novel ever to be in the running for a National Book Award? Gene Luen Yang’s American Born Chinese has been given that honor. “I can’t say it’s a dream come true, because it never even would have occurred to me to dream it. It wasn’t in my reality,” Yang says.John Hodgman is at it again with one of the more antic Washington Post chats I’ve ever encountered. (via Books are my only friends)

Recent Year in Reading alum Rebecca Makkai writes about the difference between publishing your first book and your second book for Ploughshares. Let’s just say it’s the difference between champagne and “all the whiskey.” Pair with Zhanna Slor‘s Millions interview with Makkai in which they discuss that second book, The Hundred-Year House.