The Allen Ginsberg Estate supports a regularly updated blog called The Allen Ginsberg Project. I recommend reading it. Here’s a gem of a conversation between the late poet and a student over those delicious, sweet and cold plums in William Carlos Williams’s “This is Just to Say.”
When Maeve Binchy passed away two years ago, she left behind a novel, A Week in Winter, that appeared to cap off an accomplished 40-year career. It turns out her fans have more posthumous work to look forward to: a new 400-page story collection, Chestnut Street, that comes out on April 24th.
Think your novel could use a language of its own, but don't have the philological powers of Tolkien? Then take a few lessons from Game of Throne's resident linguist, David J. Peterson, who turned George R.R. Martin's 55 Dothraki names into a 4,000 word vocabulary with a working grammar.
How do you pronounce the name of the titular character from Samuel Beckett’s play, Waiting for Godot? Is it GOD-oh or is it god-OH? Or is it a third variant altogether? While investigating the question for The New York Times, Dave Itzkoff has found that there may not be a correct answer, after all.
"I have a theory: the thing that makes you a unique writer hasn’t got so much to do with your influences as it does with how you became a writer in the first place. I think your preferences—your obsessions—come just as much from the first sorts of things you consumed and were passionate about. Whether that’s pop music, comics, “lowbrow” fiction, soap operas, or anything else, the thing that matters most is what started you writing stories." Amber Sparks writes about "lowbrow" influences and the many paths to becoming a storyteller in an essay for Electric Literature.