Two Sides of the Book Biz in Britain: A small press specializing in works in translation is seeing success thanks to uniquely personal approach… while the big presses are teaming with supermarket chains in a race to the bottom.
“I believe that fiction can help, and if that’s what makes me inevitably a genre writer, that’s okay,” John Green said in a speech at Kenyon College about why we should make art, genre fiction, and bad college hook up experiences. Bonus: Here are Green’s 18 books you probably haven’t read.
It doesn’t get much better than James Wood on Joy Williams: “Nothing is stranger (and funnier) in Williams’s work than her details. Like her forms, they only resemble conventional realist details, an atmosphere perhaps encouraged by her flat, functional sentences (“They danced. Sam had quite a bit to drink”). The details are frequently surreal, magical, hallucinogenic, delivered in a cool, dispassionate, routine manner.”
E. V. De Cleyre explores the right moment to end a nonfiction story. She writes that life rarely offers conclusions, and “dealing with actual occurrences often means there is no definitive end, and even if there were (such as a death), there comes the aftermath—the grief, the coping, the rebuilding.” Pair with Sonya Chung’s Millions essay on literary endings.
Frederick Douglass was one of the first people to use photography to control meaning. Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century’s Most Photographed American catalogues his many portraits and how they contributed to our perception of Douglass. Our own Edan Lepucki writes about the place of slave narratives in fiction.