“Loss isn’t science; it’s a human reckoning.” The New York Times posts an e-mail conversation between Joyce Carol Oates and Meghan O’Rourke on why we write about grief, following the release of Oates’ memoir A Widow’s Story and in anticipation of O’Rourke’s own memoir of loss, The Long Goodbye.
“Writing difference is a challenge, particularly in fiction. How do men write women and vice versa? How do writers of one race or ethnicity write about people of another race or ethnicity? More important, how do writers tackle difference without reducing their characters to caricatures or stereotypes?” Roxane Gay reviews Joyce Carol Oates‘s The Sacrifice and simultaneously explains how to write difference well. Hint: it “demands empathy, an ability to respect the humanity of those you mean to represent.”
The latest installment of #LitBeat involves musings on puritanical projection, the phrases “ass-banging” and “mucus flaps” and a least one instance of the word “boner.” Our correspondent was there for The New Inquiry read along of Millions contributor Mike Thomsen’s new book, Levitate the Primate: Handjobs, Internet Dating, and Other Issues for Men.
For 50 years, The New York Review of Books has written some of the best headlines in the business. Matthew Howard rounds up every headline. Our favorites include: “Don’t Sing Your Crap,” “How Unpleasant to Meet Mr. Baudelaire!“, “Welcome to New Dork,” “It’s Your Fault, Henry James,” and “Portrait of the Artist as a Paradox.”
Over at Catapult, Mensah Demary shares the story of how he got to be a professional editor. As he puts it, “I was asked recently what it takes to succeed as a writer and editor. Actually, I was being asked a more specific question: how do you become a successful writer and editor? I don’t have the answers; I only have my life.” Pair with Kate Angus’s Millions essay on making a living as a poet.