“Stories are born unconsciously, but I think the writer determines whether the turn a book has taken is true or false through feeling, which is conscious. I shape my stories in this or that way because the story answers something that is emotionally rather than literally true for me.” At Full-Stop, Siri Hustvedt talks fiction with Tyler Malone.
After successfully raising funds through their Kickstarter campaign (which we’ve mentioned previously), Red 14 Films has begun releasing the first of their cinematic book trailers. First up is this video for Jason Ockert’s novel, Neighbors of Nothing. Look out for works for Monica Drake, Matt Bell, and Scott Dominic Carter in the near future as well. In the meantime, you can also check out an earlier video put together for Athena Lark’s Avenue of Palms.
“Rather than showing one isolated capsule, the new hall would encompass nature and the human world…. The central theme would not be a certain animal, or even the landscape portrayed. Not one story but the fact that the stories are there. Albert E. Parr, strongly influenced by the burgeoning field of ecology, believed that the interconnectedness between disciplines was the story of the world.” Jaime Green writes for Longreads about the narratives behind the exhibits at the American Museum of Natural History. Also check out our own Bill Morris’s piece on the new Whitney Museum.
“It’s part of Jane Austen’s genius that she can bring the maximum of drama and momentousness to the most minimal of occasions.” Here is David Denby from The New Yorker on reading (and listening to) Austen’s Emma, which is celebrating its two-hundredth year in print. We’ve brought you a bunch of bits on Austen in the past.
“In the new environment, science fiction writers needed new formulas – or even better, needed to have the courage to operate without pre-cooked recipes of any sort. In short, science fiction needed to grow up and take on the adult world, in all its messiness and uncertainty.” Ted Gioia pens a paean to sci-fi writers of the 1960s. Among his recommendations (including a reading list of 64 works): Camp Concentration by Thomas M. Disch, whose larger oeuvre is considered here.
It’s a common saying among actors that the script does most of the work. Which raises an interesting question: is it possible for a great writer to make art out of a bad story? At The Kenyon Review’s blog, Amit Majmudar says it is, using Shakespeare as proof. Related: five experts on the Bard’s greatest plays.