Byliner, a sleek new site that features narrative non-fiction from around the web (and for the most part from the usual suspects, The New Yorker, The Atlantic, et al.) has launched. The Nieman Journalism Lab covers the launch.
“Many writers write vexed introspection, or detail-oriented reporting, or counterintuitive cultural commentary, or lifestyle journalism. But so far only Didion has done all four in perfect synthesis, a prose that, at its best, can fire on every cylinder and work on multiple fields of the imagination at once.” In support of the Kickstarter project for the documentary on Joan Didion, We Tell Ourselves Stories in Order to Live, Nathan Heller looks back over Didion’s writing career, her “imaginatively seductive” nonfiction writing and her carefully constructed confessionalism in a piece for Vogue.
“Mom would meet up with us in the museum, take us to study Impressionist or Modern art. It always made me want to puke, but we did it every weekend for over a year.” Smithsonian Magazine has a lovely piece about the story behind the children’s classic From the Mixed-Up Files of Mrs. Basil E. Frankweiler, including lots of anecdotes from author E.L. Konigsburg‘s kids.
“The idea was that whatever I felt or did resonated in life, caused people pain or happiness. This gave me a feeling of huge responsibility even as a child – to the extent that sometimes I had to block my own feelings or wishes. When I started writing fiction, suddenly I was allowed to do what I wanted.” Talking with Etgar Keret.
When Adrienne Raphel got to the Iowa Writers’ Workshop, she found a group of writers as addicted to fonts as she was. Over time, a “font subculture” developed among the poets, who settled on particular fonts as their signatures, at least for a while. At The Paris Review Daily, she writes about her typographic bent. Pair with our own Garth Risk Hallberg on the use of fonts in publishing.