“Stories are born unconsciously, but I think the writer determines whether the turn a book has taken is true or false through feeling, which is conscious. I shape my stories in this or that way because the story answers something that is emotionally rather than literally true for me.” At Full-Stop, Siri Hustvedt talks fiction with Tyler Malone.
“To translate the power of Tish and Fonny’s love to the screen in Baldwin’s image is a dream I’ve long held dear. Working alongside the Baldwin Estate, I’m excited to finally make that dream come true.” Oscar-winning Moonlight director Barry Jenkins is adapting James Baldwin‘s 1974 novel If Beale Street Could Talk for the screen, says The Hollywood Reporter. (He’s also bringing Colson Whitehead‘s The Underground Railroad to visual life as well.)
Rebecca Makkai shares the events that we can’t miss at AWP. I’m looking forward to the LA Law Karaoke Costume Party at the Santa Monica Pier, sponsored by VIDA and Pen America, featuring Mary Oliver and Kesha. Tod Goldberg’s dispatch from AWP in 2013 is a nice supplement to the piece.
The New Yorker has launched an online-only series dedicated to the novella, featuring longer works of fiction the magazine isn’t able to fit into print. “The novella is not, usually, an expanded story. Rather, it is a contracted novel, in which the omissions cover much ground. It is more ambitious than a story, denser and more gemlike than a novel.” Callan Wink’s In Hindsight launches the series, with an interview with the author.
Sarah Pitre reviews Meg Wolitzer‘s first YA novel, Belzhar, for Kirkus Reviews, and while we were already looking forward to the novel, now we’re doubly interested.
“When John Green told the crowd that, though he was proud of the movie, it wasn’t his movie, someone shouted, ‘But it’s your plot, John!’—which marked the first time I’d ever heard heckling about the nature of authorship.” Green, author of YA bestseller The Fault in Our Stars, is the literary hero of teenage girls, and nerdfighter hero to millions. After you read the excellent profile at The New Yorker, consider the The Millions’ own review.