Recommended Reading: Two poems – “Bottle Curve” and “Self-Portrait as Q Source” – by Justin Carter.
A new, non-profit literary journal has launched in Austin, Texas. Each issue of The Austin Review will include four pieces of flash non-fiction, four short stories, and one work of critical analysis. Special attention will be paid to writers from the city that gave us Sixth Street.
Tom Perotta, author of Little Children and The Leftovers, talks about how he learned to write about ordinary life from Thornton Wilder's play, Our Town. "The tragedy is that, while we’re alive, we don’t view our days in the knowledge that all things must pass. We don’t—we can’t—value our lives, our loved ones, with the urgent knowledge that they’ll one day be gone forever."
"The voices you hear when you sit down to write lead you to believe that you’re a character in the novel you’re writing even though metafiction hasn’t been invented yet." If this applies to you, you might be in a Muriel Spark novel according to Maud Newton's article at The Toast. We aren't surprised that Newton wrote this because Spark made her 2010 Year in Reading post.
The Los Angeles Review of Books interviewed Xujun Eberlein, a “China-born and now Boston-based” short story writer, essayist and blogger about recent literary happenings in her native country. The first question they asked has to do with Finnegans Wake, which is selling surprisingly well in Chinese bookstores.
Fans of the French Oulipo movement will know about A Void, the Georges Perec novel written entirely without the use of the letter “e.” What very few readers of any kind know, however, is that in 1939, thirty years before Perec’s novel was published, Ernest Vincent Wright wrote a book in English, Gadsby, that hewed to these same constraints. At The Atlantic, Nikhil Sonnad investigates how this experiment plays out in the book.