At The Wilmington Star News, a round-up of the news coverage of the suicide of The Virginia Quarterly Review‘s managing editor, Kevin Morrissey, and the accusations that Morrissey’s boss, Ted Genoways, the wunderkind editor-in-chief of VQR, may have played a role in the suicide. In the wake of this sad controversy, the University of Virginia has shut down the 85-year-old journal, pending an internal investigation.
If you’re tired of only getting catalogs and bills in your mailbox, ask your friends to mail their tweets. For a month, Giles Turnbull corresponded with 15 of his Twitter followers by mail. “Tweeting by post made me appreciate the online and the offline. Brevity is a good thing, but there’s no reason we should only be brief on Twitter,” Turnbull writes for The Morning News. Pair with: Our roundup of literary Twitter’s first tweets.
It’s impossible to deny that memoir writing is having a bit of a moment, as more and more major books delve deeply into authors’ lives for material (here’s looking at you, Knausgaard). But what happens when memoir meets straight history? According to The Canadian Press, both genres only become more interesting. “[People] think non-fiction is just boring, fuddy-duddy history books, [but] if you look at Canadian literature right now, non-fiction is incredibly exciting.”
Suzan-Lori Parks wrote a play every day during Trump’s first 100 days as president which will be published next year as 100 Plays for the First Hundred Days. She talks to American Theatre about why she decided to undertake such a project, how difficult the process was and the importance of showing up and being present. Includes excerpts from the book.
Philip Roth may have retired, but that doesn’t mean he’s done giving interviews. The author recently sat down with the editor of a Swedish newspaper, who talked with him about misogyny, Sabbath’s Theater and the need for “obstinacy” in a writer. (Related: our own Hannah Gersen reviewed Roth Unbound.) (h/t The Paris Review)
Tim Parks investigates the idea of “writing to death” in the cases of Thomas Hardy, D.H. Lawrence, Anton Chekhov, Charles Dickens and William Faulkner. “So many of the writers I have looked at seem permanently torn between irreconcilable positions,” Parks writes. “Eventually, the dilemma driving the work either leads to death, or is neutralized in a way that prolongs life but dulls the writing” (Bonus: Our own Mark O’Connell just reviewed Parks’s latest book, Italian Ways.)