Is Scotch tape Scottish? The Paris Review asks a question that has to be asked.
Forget “Gangnam Style.” The next Korean musical craze should involve the sijo (pronounced “shee-jo”), a type of poem dating back to the 1300s, and, “up until the 20th century … was mostly composed and sung, not written and published.” You can listen to a performance of Yi Cho’nyön’s “Moonlight Pear Blossoms” over here.
“Writers teach, not writing per se, but how to engage in writing as a process and a means of perception. The actual work of writing is seldom sublime. It’s a struggle that grows more difficult if we avoid it. Writing is often excruciatingly slow and repetitive. Time, in slipping and sliding, makes itself felt and immediate. Words are the way in, but nothing is guaranteed. What writers or readers can do with language, or understand inside it, depends on what they know—on refining their sensibilities, on writing, revising, waiting, reading, writing, as though living in language were life and death.” Year in Reading alumna Jayne Anne Phillips writes for the Literary Hub about the importance of writing programs. For more on the debate, check out Hannah Gersen’s Millions essay.
“Like walkie-talkies that require a button be pressed to speak and released to hear, does reading require that either the voice of the author or the voice of the reader’s consciousness be silenced at any given moment? Such an analogy suggests that reading is an act of hospitality toward another’s mind, in which we silence our voice in courtesy to the voice of another’s consciousness, a voice that alternates with our own in conversation.” John Biguenet on silent reading.
“Writers are not often great lovers but pathological inventors of explanations. Sex induces a kind of cowardice in them, a fear of experimentation, of being vulnerable, of stepping naked onto the stage to examine all the presumptions that pass without question when everyone still has their pants on.” Michael Thomsen makes the case that dating writers is a bad idea.