Writing for The Guardian, Blake Morrison ponders the eternal question: “does it help writers to drink? Do they drink any more heavily than any other social group – doctors, lawyers, shop assistants or … advertising executives?”
“Does it help writers to drink?”
Good Riddance
Recommended reading: Jason Arthur bids "Good Riddance to the Good-Bye-To-New-York Essay" for The Rumpus. Pair with Eryn Loeb's review of Goodbye To All That: Writers on Loving and Leaving New York and our own Elizabeth Minkel's account of rereading Didion's original "Goodbye to All That."
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Entourage v. Mad Men
Is "Entourage" just "Mad Men" set in modern times? This article, of course, must be paired with Carles' Grantland piece, "I Don't Want to Bro Up, I'm an 'Entourage' Kid."
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A Prodigal Daughter
“We lived in the Midlands, and when I moved to Dublin for university Frank liked to call me up and talk to me about my late mother, whom he informed me was ‘no saint’.” Sally Rooney’s short story from the New Irish Writing issue of Granta is now available on the Literary Hub website.
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New Directions in The Coffin
The Coffin Factory, a "magazine for people who love books," interviews New Directions' Barbara Epler and Tom Roberge about "publishing and finding bold, new experiments in literature from around the world." (via)
“From Annihilation to Acceptance”
Recommended reading: Jeff VanderMeer, author of the Southern Reach trilogy, writes for The Atlantic about the "surreal journey" of publishing three novels in one year. Pair with VanderMeer's Millions interview with Richard House.
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Where Has the Venom Gone? Pls RT.
Jacob Silverman tackles the niceness epidemic besieging literary criticism at the moment. Where have the hatchet jobs gone? Is social media’s “communalism” robbing critics of their fangs? Each time a publication refuses to print a negative review, the act amounts to “a victory for a publicist, but not for readers,” he writes. (Just a few notes: Silverman's piece is based on a blog post he wrote recently; Emma Straub has responded on her own blog; and, for what it's worth, our own Michael Bourne’s recent review of Richard Ford’s Canada was pretty toothy.)
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