How did Herman Melville’s friendship with Nathaniel Hawthorne affect the writing of Moby-Dick? It’s a hard question to answer with any certainty, but Patrick James Dunagan gives it a shot, drawing evidence from Erik Hage’s book on the authors’ relationship. You could also read Hester Blum’s argument that Moby-Dick is the greatest American novel.
A basketball player gets kicked in the testicles and hundreds of news outets have to figure out how the heck to write about it: “Different outlets have different comfort levels when writing about the crotch. The New York Times, for example, threw idiomatic English out the door on first reference: ‘Exhibit A was that [Draymond] Green picked up a flagrant-1 foul — while hacked in the act of shooting — with 5 minutes 57 seconds left in the half by flailing a leg between those of Steven Adams, who wound up doubled over.'”
We’ve published a fair number of articles on the issue of finance and employment in a writer’s life. In general, writers assume that the ideal source of income, at least as far as it concerns their own careers, is one that leaves them free of worries and blessed with ample time. In the latest Bookends, Mohsin Hamid and Rivka Galchen tackle a more existential question — do money woes inspire writers to greater heights of creativity?