Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
“To talk to Le Guin is to encounter alternatives. At her house, the writer is present, but so is Le Guin the mother of three, the faculty wife: the woman writing fantasy in tandem with her daily life.” The New Yorker dedicates a long profile to Ursula K. Le Guin. Pair with our interview with the prolific author.
“You might say we are awash in definitions of the essay and essays themselves, or to mis-paraphrase Wallace Stevens, ideas about the thing as well as the thing itself.” On The Making of the American Essay, the third and final volume of John D’Agata’s A New History of the Essay.
We’ve been discussing the changing nature of the English language a lot here this week (from the rise of public English to the acceptance of “like”), but if there is one thing that’s consistent in language, it’s the word “huh.” Linguists have studied 31 languages that all contain the interjection, making it one of the first universal words.