After wasting three hours on Facebook looking at memes, you might be tempted to cut yourself off from the Internet. Unfortunately, as Paul Miller learned after spending a year offline, the world off the grid isn’t quite what it’s cracked up to be.
Cut Off
For the Sake of Cohesion
“Setting is often the last piece of the jigsaw. I start somewhere else—with a kind of a premise, a set of relationships, a theme—and I often have a long period when I can’t figure out where the story should be put down. I find myself going location hunting. Not just for a time and place, but also for a genre, if you like.” Kazuo Ishiguro on the Hazlitt podcast. For more things Ishiguro, here is our own Lydia Kiesling’s review of Ishiguro’s latest novel, The Buried Giant.
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“A hustler wrote this?”
“The book documents its time, a time when homosexuality was illegal, and still described in medical books as a mental illness. It is one of the best firsthand accounts of what it was like to be gay in the mid-20th century — ostracized — separate from the mainstream world. It reveals, through its characters, how young men couldn't admit, even to themselves, that they were what society deemed perverted.” On the novel City of Night by John Rechy.
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Now Those Are Some Good Ribs
The By the Book series at the Times has produced some pretty great entries, but we have a feeling that Colson Whitehead may go down as its best interviewee. Why do we say this? Well, it might have something to do with his weeping fit in a Chelsea Dallas BBQ, prompted by an early scene in Cormac McCarthy’s The Road.
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I Tweet Therefore I am
Twitter lets writers think in public, and it's changing the way we write, Thomas Beller argues in The New Yorker. “Does articulating a thought in public freeze it in place somehow, making it not part of a thought process but rather a tiny little finished sculpture? Is tweeting the same as publishing?"
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