Brace yourself for disgusting, convoluted metaphors and run-on sentences. The winners of the 2012 Bulwer-Lytton Fiction Contest for the worst opening sentence to an imaginary novel have been announced.
A lot has already been said about Nicolas Winding Refn's newest and arguably most provocative film, Neon Demon. At The Rumpus, Jeffery Edalatpour examines beauty and its extremes, and also asks a couple questions of the director, himself: "Refn has revised the mythology of Aphrodite; she dons as much armor as Athena, enjoying nothing but the hunt. When I asked the director if he could cite any visual influences, his flat affect implied disdain for my simplistic question: 'I just photograph what I find interesting. I believe that women are more powerful and more interesting than men. It’s just very much what I like to fantasize about.' Fair enough."
"The notebook is where our interior world makes contact with our exterior world; where our instinct for creation is first made material. Our notebooks are our first messy attempts at self-expression, and the ways in which we express ourselves are changing every day." Sarah Gerard explores the life of the notebook in an essay for Hazlitt. Pair with our own Hannah Gersen's look at other methods writers use to keep their ideas straight, from calendars to collages.
Alexandra Kleeman’s debut novel includes, among other discomfiting things, a series of fake advertisements for surreal women’s beauty products. The plot, which follows a proofreader named A, begins with the main character’s attempt to evade her roommate, and eventually brings A to join a “Church of Conjoined Eaters.” At Slate, Molly Fischer argues the book deftly captures our society’s weird treatment of femininity.