“Tom Stoppard isn’t shy about tackling literary giants. The British playwright has rewritten Hamlet for the stage and recently turned Tolstoy’s Anna Karenina into a Hollywood feature. But he struggled with a television adaptation of Ford Madox Ford’s sprawling modernist masterpiece Parade’s End.”
“Writing about film applies pressure to how ekphrastic writing can be possible, let alone evocative–and further, highlights questions that pertain to all kinds of writing, from honing poetic imagery to composing entire fictive worlds: how can writing engage or transform the fidelity of its subject(s)? How do you write about something so simultaneously ephemeral and fabricated, and yet intuitively, enduringly ‘real’?” For Ploughshares, Veronica Fitzpatrick on writing about film. Pair with this Millions piece on literary magazines in film and TV.
Not every worthy book finds the audience it deserves as quickly as Edan Lepucki’s California. John Warner writes about the long aftermath of finding his debut, The Funny Man, featured in our 2011 Most Anticipated Book Preview: “I wondered, what if? Maybe this was going to be the next phase of my life, and when people asked me what I did, I’d say that I wrote novels.” His new collection of short stories is Tough Day for the Army.
Leigh Stein‘s writing has appeared in places such as DIAGRAM, H_NGM_N, and Dzanc’s Best of the Web 2010. She also has a weekly column for The Faster Times. Her debut novel, The Fallback Plan, will be released next January by Melville House. Publisher’s Weekly thinks pretty highly of it.
Why do we reread novels obsessively as children but hardly ever as adults? At The Morning News, Clay Risen discusses why rereading appeals to children so much. “It was a residual sense of wonder, left over long after I had accepted that the reality on the page and the reality beyond it are distinct.” Pair with: Our essay on the pleasures and perils of rereading.
TriQuarterly, the long-running trail-blazing literary journal more or less dreamed into existence by the late Charles Newman, is apparently no more, due to budget cuts at Northwestern University. Newman’s foreword to his first issue as editor, reprinted at A Public Space, should be required reading for anyone thinking about the purpose and future of the little magazine and its role in the artistic ecology.