Want your writing to have punch? Want your readers to believe you? “The five-word sentence as the gospel truth…Express your most powerful thought in the shortest sentence,” Roy Peter Clark writes in The New York Times. Sorry that every sentence in this post is more than five words.
Though the world may never know whether reading the greats makes you a better person, according to a recent study, those who take an active interest in the arts are more likely to be altruistic.
The Corrections might never make it to screen, but Jonathan Franzen’s New Yorker essay on songbird poaching, “Emptying the Skies” (behind the paywall), is already a documentary. The film follows a group of bird lovers trying to save the endangered animals and even includes an interview with Franzen. Although the documentary just found a distributor, there is no word on an official release date. Until then, here’s the trailer.
Michael Seidlinger writes on how consciousness occurs online. As he puts it, “We have all become Sisyphus, pushing our rocks up a hill littered with hyperlinks and tweets, perpetually, futilely, refreshing the page of existence.” Pair with this Millions piece on the best of literary Twitter.
“No novel gets uniformly enthusiastic reviews, but the polarized responses to The Goldfinch lead to the long-debated questions: What makes a work literature, and who gets to decide?” Vanity Fair has big questions and lots of opinions about Donna Tartt‘s latest novel, which we’ve covered pretty extensively ourselves.
“A neck cannot be modern. A neck is in time, belongs to time, but is not formed by it. My guess is that even photos of Neanderthal necks would not differ significantly… [They are] in a certain sense, pure nature. Something that grows in a certain place, the way tree trunks grow, or mussels, fungi, moss.” Recommended reading: Karl Ove Knausgaard on the sanctity of bodies, the nature of truth, and the back of the neck. The third volume of Knausgaard’s bestselling My Struggle hit American bookshelves last week. (Check out our own review of Knausgaard’s previous volumes.)