Will 2012 be the year they finally rise up against us? A study finds pigeons can do higher math.
“Writing about film applies pressure to how ekphrastic writing can be possible, let alone evocative–and further, highlights questions that pertain to all kinds of writing, from honing poetic imagery to composing entire fictive worlds: how can writing engage or transform the fidelity of its subject(s)? How do you write about something so simultaneously ephemeral and fabricated, and yet intuitively, enduringly ‘real’?” For Ploughshares, Veronica Fitzpatrick on writing about film. Pair with this Millions piece on literary magazines in film and TV.
Gordon Lish is famous for being Raymond Carver’s very involved editor, but his work has never been thoroughly considered before. David Winters, Greg Gerke, and Jason Lucarelli have set out to change that with a roundtable discussion of Lish’s legacy. “What can we learn from Lish? Well, we can take away a set of techniques, to be sure; ‘rules,’ if rules are useful to us. But we can also salvage something that looks almost lost in our time: a sense of the real, lived stakes of writing, its risks and its rewards.”
Our own Edan Lepucki interviewed National Book Award finalists George Saunders and Rachel Kushner for the National Book Foundation. Saunders discussed money issues in his writing. “Now I feel like paucity vs. grace is one of the great American issues—we all live with it every day.” Kushner explained her writing process. “The sentences are beads on a string; I see each one as essential.”