“I came back to my studio and tried to think of the slowest possible way to write a novel, and the slowest way is with frosting.” The Paris Review interviews cartoonist Lynda Barry about writing novels with a paintbrush.
It’s not every day that fans of a novel look forward to a Lifetime movie, but such is the case for fans of Flowers in the Attic, whose 1987 film adaptation left out many of the details that made the book a “rite of passage for teenage girls in the ‘80s.” At Slate, Tammy Oler delves into the book’s importance and its history on the screen.
"I began to wonder: what would a manifesto for bad poetry look like? Would it differ either superficially or deeply from the art’s graver manifestos? It really wouldn’t have to. It would merely have to persuade, and persuasion sounds very much the same whether it is honest or dishonest. If it was any good it would hold great attractiveness as a snappy piece of writing, but, if followed, it would be certain to produce bad poetry. Some harmless sophistry. In this it would be more effective than any positive manifesto, because, if guided well, no-one who sets out to write a bad poem is going to accidentally write an excellent one." Erik Kennedy lays out a manifesto for bad poetry, titled "Precepts for Perfection in Poetry," for The Rumpus. For a counterpoint, pair with our own Nick Ripatrazone's look at very good and very sad poetry, "The Saddest Poem Ever Written."
This Sunday, come out to the KGB Bar and meet The Millions! A pile of staffers including C. Max Magee, Garth Risk Hallberg, Emily St. John Mandel, Sonya Chung, and yours truly will be there, and a good number of them will be reading their work. The event even ends by nine, so you can rush home to see Mad Men.
If you received a text from an unknown number saying, "sup you comnig to this thing?", would you respond? Michael Cera imagines the ensuing conversation in his epistolary humor piece, "My Man Jeremy," for The New Yorker. Depending on how you feel about the actor, the piece is either endearingly awkward or annoying, but it's very Cera — complete with anxiety and references to how he always gets mixed up with fellow "Shouts & Murmurs" contributor Jesse Eisenberg.