“I think dystopian novels are really about present anxiety, aren’t they?” Chang-rae Lee said in an interview for the Daily Beast’s “How I Write” series. His dystopian novel, On Such a Full Sea, was part of our 2014 book preview.
Even though William Faulkner once described Hollywood as the “plastic asshole of the world,” he spent two decades writing screenplays there. At Garden & Gun, John Meroney examines Faulkner’s film career, including writing for Howard Hawks and having an affair with his secretary. Pair with: Our essay on Cormac McCarthy’s attempt at screenwriting.
“After receiving a hundred of his letters, meeting him fifteen times, either at his apartment on Bilu Street or at a Tel Aviv café, and receiving too many calls from his cell phone to ever hope to return, I gave up trying to count the number of times that Yoram Kaniuk had died.” Nicole Krauss remembers her relationship with Israeli writer Yoram Kaniuk, author of The Last Jew, in her obituary for The New Yorker.
“But writers and runners know that when you settle into a long-distance run or hit your stride with the work, something other than your body takes over.” For LitHub, our own Nick Ripatrazone writes about the similarities between long-distance running and writing. Pair with: an essay on the poetics of running.
If you enjoyed the profile of Anne Carson in the latest New York Times Magazine – fictitious “ice bats” notwithstanding – you’re going to really love Parul Sehgal and Nathan Huffstutter’s two takes on Red Doc>. The work, Sehgal writes, is “suspended between what it is and what we want it to be.” And also, writes Huffstutter, it’s a work that “courses with a wit shot through with intelligence and humility.”