Need something to complement our profile of Jami Attenberg’s Saint Mazie today? Then try this on for size: Year in Reading alum Emily Gould conducts an interview with the author at The Rumpus. Among other things, they talk about historical fiction, writing quickly and doing research on the Lower East Side.
“While guys spent time in these Seg cells calling out chess moves over the walkways or doing push-ups until their veins bulged from their temples, I was in my cell pecking away trying to create a different world for myself. Some kind of way I felt I could rewrite my future.” For The New Yorker's Page-Turner blog, Daniel A. Gross tells the story of the Swintec Corporation, the nation’s sole supplier of clear typewriters, whose largest market is prisons. Pair with our own Bill Morris on using his Royal to write.
In the introduction to her interview with the author, the inimitable Parul Sehgal described Chimamanda Ngozi Adichie’s latest novel, Americanah, as “a thrilling and risky piece of writing that takes on taboos, shatters pieties, and combines forthright prose, subversive humor, and a ripping good story.” If that doesn’t sell you, I don’t know what will.
What makes a sentence sad? At The Missouri Review blog, Aaron Gilbreath explores just why certain sentences are depressing — from A.A. Milne's The House at Pooh Corner to James Joyce's "Eveline." "Their emotional impact doesn’t stem solely from the combination of words. The impact often results from the circumstances of readers’ lives." Pair with: Sam Martone's metafictional short story about his grandmothers' deaths, "A Second Attempt," at Pithead Chapel.