“Even after I realize that we are being robbed, that bullets can shatter glass, that being locked in is no help in this situation, I still feel a vague resentment at having to hand the laptop over. It’s mine. It contains my work, a week of writing, a month or more of photography, personal information. I have hesitated only a few seconds but feel as though I have just woken from a trance: briefly, I imagined myself with a bullet in my thigh, imagined myself bleeding out in traffic in Ojota.” At Granta, Teju Cole writes about living in Lagos.
Erin Morgenstern's debut novel The Night Circus went from National Novel Writing Month project to 6-figure book advance after being rejected by more than 30 agents.
Those following this weekend's events in Tripoli will no doubt be interested in Banipal's issue dedicated to Libyan fiction. And, as Moammar Gaddafi's reign appears to be ending, the Guardian's evisceration of his short stories is worth a read. On NPR's site, Hisham Matar also explains the influence of Gaddafi's rule on Libyan writing.
"Whenever I tried to invent a character or a situation, I felt a stab of guilt. I could hear my teacher's quavering voice saying, Write what you know! Why had she insisted on this so vociferously?" Writing class mantras are easy to impart but they are also easily misinterpreted. A.X. Ahmad, author of The Last Taxi Ride and The Caretaker, learns this truth the hard way as he tries to become a writer following a personal upheaval. Pair with Ahmad's Millions essay on "The Thriller, Reinvented."