“I’ve been writing about ‘real’ characters and placing them in a shaped, or fictional, world. Writing TransAtlantic, there was never really a plan, at the early stages, to question the line between fiction and nonfiction. I just went on instinct, and then these worlds started to braid.” The Rumpus interviews Colum McCann.
Talking with Colum McCann
Across This Land
At Brain Pickings, Maria Popova shares a series of drawings (produced in collaboration with Debbie Millman) that map the regions of the US according to literary quotations. Thoreau, perhaps not surprisingly, gets the East Coast with a quote from Walden, while Year in Reading alum Jeffrey Eugenides represents the Midwest.
From Text to Triage
“Megan Gething jumped in to action and tied a pair of shorts around her friend’s leg to slow blood loss, using a tip she learned from the young adult science fiction novels.” A 12-year-old Massachusetts girl used what she read about creating a tourniquet from The Hunger Games to rescue her friend, reports the AP (via Book Riot). Guess the best YA books really do stick with you.
●
●
East of Edam
What goes better together than wine and cheese? Authors and cheese. The Airship paired ten gourmet cheeses with famous writers. Virginia Woolf goes well with a Bayley Hazen Blue. “This Stilton-like blue is a mix of narratives – the Mrs. Dalloway of cheeses, if you will.”
●
●
“New” Zora Neale Hurston
The Chronicle of Higher Education analyzes three short stories by Zora Neale Hurston never before reprinted.
Nineteenth-Century Female Fiends
Erin Blakemore takes a look at a small publishing trend from the 1800s that followed female murderers and gave middle-class women a brief escape from Victorian values.
●
●
●
Offshoots
Recommended Reading: Our own Elizabeth Minkel on Sherlock and fan fiction. You can also read another essay of hers on fan fiction here at The Millions.
Leigh Stein Two-Fer
Here’s double-shot of The Fallback Plan author Leigh Stein courtesy of Full-Stop and NY Daily News.
●
●
The Lives of Movie Characters
“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.
●
●