“We love sentences and the people who create them.”

The Guardian has a list of its five favorite on-campus novels, including Jeffrey Eugenides‘ The Marriage Plot, which we ran an excerpt of back when it came out, and Donna Tartt‘s The Secret History, whose connections to the academy we’ve also explored on the site.

In the Boston Review, Jess Row wades – slowly, interestingly, not always coherently – into the perpetually roiling waters of Theory of the Novel, taking on the canon wars, realism vs. the avant-garde, etc. Is it really “a safe bet that your average well-informed critic today has never read a single work of criticism by a writer of color?” Probably not, even granting Row’s exception. But possibly worth arguing about. If you like that sort of thing.

“The first sentence, itself described as a ‘decoy for attention’ in a 1930 story on the new art, is a lure within a lure, created in a new economy increasingly predicated on commercial diversification and instant appeal, in a book market that had never been so populated.” Electric Lit takes us through the history of the novel’s first sentence. Pair with our essay on the art of the opening sentence.

“Ms. Cline, who was 27 when the novel came out, was celebrated as a major new talent. But for the last two years, her success has been overshadowed, in private, by legal threats levied against her by a former boyfriend.” Emma Cline, bestselling author of The Girls,  and her ex-boyfriend, Chaz Reetz-Laiolo, have filed public lawsuits against each other including allegations of plagiarism, physical abuse, and intimidation, according to the New York Times. From our archives: staff writer Michael Bourne‘s review of Cline’s debut novel.