Rohan Maitzen on Virginia Woolf‘s literary criticism: “What—I can imagine her asking herself, as she writes about other novelists—am I doing, what else can I do, with the novel? Surely figuring this out was always, for her, the underlying project of her criticism.”
If you’re in New York this weekend, join Belladonna* and Kundiman for a celebration of what would have been the 60th birthday of Theresa Hak Kyung Cha (a full life cycle event in the Chinese/Korean lunar calendar). Nine poets, including Cathy Park Hong, Myung Mi Kim, Sina Queyras, and Anne Waldman, will perform a staged reading from Dictee, Cha’s best known work. There will be birthday cake, projected images, scholarly contextualization, and other surprises. Saturday March 5, at the Bowery Poetry Club, 2pm.
“And so the book we have available to us is not the one she intended for us to see — and to those who knew her only as the private spouse of a public figure, Michelle McNamara emerges from these pages as much of a mystery as the Golden State Killer does, gone in the dark.” In Vulture, a profile of the late true crime writer Michelle McNamara whose book, I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer, was published last week. From our archives: an essay on why one writer reads true crime novels.
The New York Times profiles MacArthur Genius and National Book Award winner Ta-Nehisi Coates as one of America’s foremost public intellectuals. His book We Were Eight Years in Power: An American Tragedy (which we have been anticipating for months) is released this Tuesday.
“Does handwriting matter?” That’s the question some researchers are working to answer and that Maria Konnikova tackles in a piece for The New York Times. The article ends by suggesting that “with handwriting, the very act of putting it down forces you to focus on what’s important… maybe it helps you think better,” which is doubtlessly encouraging to every writer who works on their drafts in longhand.