Though not exactly the first to do so, Kyle Rutkin is asking for $4,000 on Kickstarter to fund his writing a novel entirely through the Facebook timeline.
Plot Framing Device or Facebook Marketing Plot?
Life in the Company of Writers
Arisa Wright hits the nail on the head in this piece for LitHub, titled simply “In Praise of Our Black Women Poets“: “Clifton’s remark disabused me of the idea that there is something I must erase to make my poetry universal. She freed my mind and body; she freed my verse.”
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A Death Certificate and Memorial Combined
“A ‘Complete Poems’ is a death certificate and memorial combined. After the Selected and the Collected, the Complete marks the poet’s official demise and at the same time erects a carven monument designed to outlast the ages.” At The Guardian John Banville reviews The Complete Poems of Philip Larkin which will be out on these shores in March.
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P.T. Anderson Wants to Direct Pynchon Novel
Vulture reports that Paul Thomas Anderson wants to adapt Thomas Pynchon’s 2009 novel Inherent Vice for the big screen.
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Biography: The Story of Our Times
“There is one rule [to writing biography] that all who try their hand at it come to know: until the protagonist reveals his or her character—his or her inner self—what the biographer produces is less a life than a report, an autopsy rather than the record of a séance.” David Levering Lewis writes for The American Scholar about biography and writing “the lives of African-American figures, and [finding] in them the story of our times.”
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Unpredictable Lit
“These people may not take you seriously. And your boss might not either. Or your dentist or your best friend from middle school. But you who does take you seriously? Dictators. Dictators take you very seriously. Mao Zedong and Joseph Stalin, Pol Pot and Augusto Pinochet, all rounded up writers and artists in short order. They could not afford to have the unpredictability of literature at large while they were trying to create a totalitarian state.” Wendy Willis on subversion through writing for The Rumpus.
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Documenting Death
“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.
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