Yet another entry for the list of all time greatest single-purpose tumblrs: Witless Innuendo, bringing you “a collection of those end-of-review warnings from The New York Times‘ film critics.”
Acts of gruesomely violent chivalry and vehicular aggression.
Emily Gould’s Mysterious Book Project
Emily Gould, former Gawker editor, author of And the Heart Says Whatever, proprietor of the literary cooking show Cooking the Books, appears poised to launch a new literary venture, Emily Books. So says The Observer.
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J.D. Salinger’s Stories: Read Them If You Must
OK, so you’ve read our article about why you should respect J.D. Salinger’s wishes by not reading his unpublished stories, but you’ve also noticed that nobody’s really said anything about his stories that are out-of-print.
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Multi-Tasking
“When you want to read a long book, for reasons of weight a paperback must do, and you’ll just have to suck it up re: its inevitably smaller print and wind-catchingly thinner pages.” Here’s a handy guide to reading while you walk from the good people over at The Awl.
This Week in Russian Lit.
The Morning News has just launched a series on contemporary Russian literature. For this week’s installment Anna Starobinets provides an exerpt of her debut manuscript, An Awkward Age, and chats about her writing with Elizabeth Kiem. In the New Yorker, Sally McGrane profiles Boris Akunin, Russian writer of potboilers and political dissident.
Ethnoburb, For One Hundred
Prepare to lose a few hours on the glorified Wikipedia wormhole that is Daily Idioms, Annotated, then read this brief interview with the blog’s creator, material scientist Debbie Chachra.
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Ishiguro + Gaiman + Genre
“Why are people so preoccupied? What is genre in the first place? Who invented it? Why am I perceived to have crossed a kind of boundary?” Kazuo Ishiguro and Neil Gaiman discuss The Buried Giant, fantasy and genre for the New Statesman. Pair with our own Lydia Kiesling‘s review of the novel.
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Confessing / Confiding
“I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes.” Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
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