“During various periods of my life I have succumbed to the siren call of sleeping pills. It is hard to resist their promise: one tablet, and your night will be purged. Your brain may be in overdrive, its receptors working away, hungrily awaiting more images and information, but like a computer it is forced into another mode. Yet the little white disks with a dent down the middle are no panacea; whenever I take one of these thought guillotines I feel trapped in a grey zone, seesawing between mid and shallow slumber, mind and body dulled but not of their own accord.” A lifelong insomniac recounts her long struggle with the illness.
Why would anyone write a book anonymously? Maria Bustillos ponders anonymity at The New Yorker. “Anonymous is more than a pseudonym. It is a stark declaration of intent: a wall explicitly thrown up, not only between writer and reader, but between the writer’s work and his life.”
Maybe nobody read your first, or last, most recent or only book, but writer, take heart: nobody read the work of these 10 great authors either.
“Shouldn’t we all feel a little embarrassed about the fuss we made over 50 Shades of Grey?” Jessa Crispin writes for the Los Angeles Review of Books about E.L. James’ trilogy and some of the longer responses, including Hard-Core Romance, which we briefly covered a few months ago.
Henry Holt & Company stopped printing and selling Charles Pellegrino‘s The Last Train From Hiroshima last week, following allegations of fraudulent sources and fabrication in the work. The New York Times examines the debacle: “If book publishers are supposed to be the gatekeepers,” novelist and Studio 360 host Kurt Anderson asks, “tell me exactly what they’re closing the gate to.”
VQR has published an essay by Chris Fischbach of Coffee House Press that provides an overview of some of the innovative small presses at work today. Fischbach specifically mentions Tin House, Melville House and Two Dollar Radio as “nimble” publishing houses that “can try things big publishers might not find worthwhile or consistent with the aims of a traditional publishing program,” such as producing micro-budget films or illustrated versions of classic works of literature.