An eerie collection of Polish book cover art from the 1970s and 80s.
James Salter reviews Paul Hendrickson‘s Hemingway’s Boat for The New York Review of Books. Relatedly, Helena Price has been using 1000memories to compile “memory pages” to “explore the life of Ernest Hemingway as well as his friends and family.” Of particular note is this poster imploring us to “Live the HemingWAY.” Also related, The Paris Review shares a letter from Papa to his sister Ursala Hemingway.
“Romance heroines hold jobs. They teach, farm, practice law, work independently as private detectives, or they are involved in the arts, in dance, in theater. They are mothers, ex-wives, Marines. They take up causes and they always want something ‘more’ from their lives—and we aren’t just talking about a partner. In today’s romance, the relationship is part of—and often, a catalyst for—a woman’s journey, not her destination.” On the value of romance fiction.
Recommended reading: Sara Polsky writes for the New Yorker about “The Detective Novel That Convinced a Generation Richard III Wasn’t Evil.”
We tend to assume that life stories, in mentally healthy people, are concrete things, assembled from events that are hard to twist or distort. Yet all of us shape our own stories in ways we can’t always see. At The Atlantic, Julie Beck explores the idea that life stories, as we construct them, form integral parts of our personalities.
“She told the students not to explain too much, that they could throw in expressions in Igbo or Yoruba or pidgin and trust the reader to get it. She told them that even if a story was autobiographical it should be shaped—that, for instance, although in life you could have ten close friends, in fiction you could not, because it was too confusing. She told them to avoid inflated language—’never purchase when you can buy.'” A delightful (and somewhat rare) long profile of Chimamanda Ngozi Adichie in the New Yorker.