“Every year, as Halloween draws near, I get to thinking about what makes books scary,” writes Ben Dooley in his introduction to Mark Z. Danielewski’s House of Leaves. It’s a book that “’gets’ existential horror,” Dooley claims. Intrigued? Well be sure to check out not only his review of the book, but also our interview with its author.
Halloween Reading: Existential Horror Edition
Free That Verse
From the Beat poet to the particularly heroic couplet, here’s a handy illustration of poetic justice from Grant Snider over at The New York Times.
Back to School
Need your monthly dose of Hilary Mantel? The two-time Booker Prize winner has a new story in the London Review of Books (which you can read at their website). The story is a nice complement to our interview with the author from last year.
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I Guess There Could Be More Intersections, Too
Imagine a Venn Diagram with two circles: Paul Murray and John Jeremiah Sullivan. Now imagine its intersection. Did you think of Axl Rose? You should’ve.
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A New Home
“But artifacts cannot speak for themselves; the meaning of a museum is determined by acts of interpretation.” Year in Reading alumnus Vinson Cunningham writes on the new National Museum of African American History and Culture.
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Even more Girls
Okay, so earlier this week I mentioned Emily Nussbaum‘s excellent profile of Lena Dunham for New York Magazine. Now Lorrie Moore‘s written one too, for The New Yorker blog. The short piece, as you might imagine, is a near perfect meeting of author and subject; who could be better at writing about Girls?
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Done Deals
Longtime writers know how hard it can be to tell when a piece is finished. Tolstoy famously tried to revise War and Peace right up to the book’s publication. At the Ploughshares blog, Amy Jo Burns offers tips for evaluating a piece before deciding to give it to someone else.
Graffiti Street
“‘Tuya’ means ‘graffiti’ in Chinese—the name is recent—and this street, three-quarters of a mile long, may be the longest stretch of public art in the world. It’s also a government-sanctioned ‘art district,’ centered around the Sichuan Fine Arts Institute, which was established in 1940…I noticed that every artist I spoke to referred to 2005 as the year everything changed. 2005 was the year the government became interested in art.” Art in Chongqing.