At McSweeney’s Internet Tendency, a disgruntled Laura Jayne Martin rants about why she is tired of sharing an apartment with poet William Carlos Williams.
The Downside to Living with William Carlos Williams
Anna Quindlen on Harper Lee
Anna Quindlen at The Huffington Post is one of the many writers reflecting on the greatness of To Kill A Mockingbird in honor of the book’s 50th anniversary.
●
●
Writing Every Day
Do you want to nurture your writing? Sign up for the Skillshare online class Creative Writing for All: 10 Days to a Daily Habit, taught by Friendship author and Year in Reading alumna Emily Gould and featuring a 10-day creative writing challenge. Also: enrollment is free through April 12.
●
●
American Gaze
“What does it look like to be the child of war? A product of war? What does it look like to be a queer child from a very traditional Confucian family? How does one feel to pay homage to a family but to also, in a way, betray those familial values?” Kaveh Akbar interviews Ocean Vuong about linguistic identity, syntax, and the American gaze for Divedapper.
●
●
“I was born as a woman, I talk you to death”
Recommended Reading: “The Hypno-Domme Speaks, and Speaks and Speaks” by Patricia Lockwood, which has been in my head for two days now.
●
●
King’s Critics
“It just goes to show you: it’s not just luck you need to have a successful literary career. It’s luck, piled on luck, piled on luck again, and around the corner, you need another sprinkling of it” says Michelle Dean, after investigating Stephen King’s rise in response partly to Dwight Allen’s “Snob Notes” on the author. Colin Dickey and Sarah Langan have both previously weighed on on Allen’s essay and King’s particular strengths.
●
●
Dead Sea SEOS
Google is pairing up with the Israel Antiquities Authority to put ancient manuscripts, such as the book of Genesis, online.
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?”