"The last line of Saul Bellow's 'A Single Dish' is nothing like poetry. I can’t tell you what any single one of those words means. Imagine you’re a lexicographer and you have to define the word that, or how. And on top of this, there’s none of Bellow’s typical play with rhythm and language—it’s almost a non-sentence. And yet, when I get to it in the story, I weep." Ethan Canin at The Atlantic on how Saul Bellow packs so much emotion into a single sentence. Here are a couple Bellow-related Millions links for your perusing pleasure.
"Even if I bought cars in department store parking lots, and even if I followed small children down wooded paths, I still knew better than to accept tuna fish from strangers in national parks." At The Hairpin, Jami Attenberg writes about meeting a street preacher in Moab. For more Attenberg, read her not-quite-a-restaurant review of Café de La Esquina at The Morning News.
Audrey Niffenegger has a new short story in the form of a comic. She collaborated with cartoonist Eddie Campbell on a comic about the dangers of using P.I.s to spy on your husband. The comic is one in a series of collaborations between novelists and cartoonists to celebrate the British Library's forthcoming exhibition of British comics.
“This is worth repeating to yourself every day as you sit down at your keyboard: You must write to the end of the story. You must make progress toward that end today. A sentence, a paragraph, a chapter. You must push the story forward, forward, forward. Don’t stop until you get to the end.” Hugh Howey on the Amazon Author Insights blog about how to write a rough draft. Pair with a popular and wonderfully motivating piece by Nick Ripatrazone, “Don’t Worry. Don’t Wait. Write.”
“Tracing the journey of a mediocre actor and Holocaust survivor ‘touched by some mysterious higher design’ as he forges and impersonates his way through the war and then back to the city of his birth, the story is part Samuel Beckett and part Isaac Bashevis Singer, with a sudden final bolt of O. Henry. It has the flavour of a morality tale, but what’s most fascinating to me is how difficult it is to derive a moral from it, or rather how easy it is to derive more than one and how openly they stand in conflict with each other.” Kevin Brockmeier extols the fiction of Leandro Sarmatz.
Is long form nonfiction returning to prominence and popularity? Folks at The LA Times' blog think so. Anna Clark has posted a list of recommended reading for aspiring nonfiction writers, too.