Sergey Stefanovich’s “The Library” takes viewers through Duncan Fallowell’s library “which has spilled over into every available space and become an art installation in its own right.”
"I do not have experiences in order to write about them. I live in order to live,” Rachel Kushner told New York Magazine. Boris Kachka profiles 2013's most critically acclaimed author and 2013 Year in Reading participant about what it was like to grow up with hippie parents, riding motorcycles, and her affinity for the art world.
"I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes." Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
"Why write in an unlovable genre with an inevitably hectoring tone? Dystopia, situated in a dangerous no-man’s-land between the pulpit of the preacher and the safe sniper post of the satirist." Future futurists, take note: the New York Review of Books reviews Chang-Rae Lee's addition to your dystopic shelf, On Such a Full Sea, and ponders the virtues of the dystopic endeavor itself. (Bonus: Lee writes about his own 2013 Year in Reading here at The Millions.)