“The [book] review’s pre-eminence is irrefutable: most people are acquainted with far, far more books through reviews than they could ever hope to read. And that is, generally, to the good.” Joseph Mackin explores why we write and read book reviews for the New York Journal of Books.
“I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes.” Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
J.K. Rowling’s new play will not, as everyone had imagined, be a prequel to the Harry Potter series. Instead, it will be a sequel, with the main action taking place 19 years after Harry Potter and the Deathly Hallows and focusing on Harry’s youngest son, Albus Severus. Here’s a self described “jaded, contrarian” take on Rowling and the series as a whole from The Millions.
When Vladimir Nabokov developed a screen adaptation for Lolita, his director Stanley Kubrick declared it the “best ever written in Hollywood”–meaning, it seems, most gorgeously novelistic, evocative, readable. Here’s a short excerpt of his screenplay with original margin notes.