“You mean people who are now in their twenties? They won’t care. People who are in their twenties will have already done this stuff, so there’s now a record. When those people are old enough to be in charge of things—which by the way I don’t ever want them to be in charge of things, and luckily, I will be dead when these people take over—everybody will have that vulnerability. When everybody is vulnerable to something it’s not a weapon.” Fran Lebowitz talks to The Awl about old New York, writer’s block, and why the politicians of the future won’t have sex tapes.
“Perhaps no part of the First Novel Experience is as confusing and overwhelming as figuring out how to balance the demands of social media with the demands of writing more fiction.” Martha Woodroof talks with Lydia Netzer about social media in the world of publishing and book promotion. Their advice? “Try to be funny as much as you can. Try to participate in conversations, not just start your own. Try to engage, not just talk.”
As if demonstrating exemplary literary skill weren’t enough, some overachieving authors were accomplished visual artists as well, notes AbeBooks in a roundup of talent that includes e e cummings, Günter Grass, Herman Hesse, and Jack Kerouac. Consider also our own Bill Morris on artists who channel writers in their own aesthetics.
At the Ploughshares blog, Erinrose Mager interviews Year in Reading alum Rick Moody, who talks about his classes at NYU and why he prefers “the mentorship model” of teaching writing over the workshop model. (Related: our founder C. Max Magee reviewed Moody’s book The Diviners back in 2006).
“A film based on a historical subject, even a beautifully shot one, can remind us without meaning to that although reading in the US is a minority activity, the book is still the only medium in which you can make a complicated argument.” Darryl Pinckney writes about “Some Different Ways of Looking at Selma” for the New York Review of Books. Pair with our own Bill Morris‘s Millions review of the film.