Last week, our own Edan Lepucki interviewed her copyeditor. This week at Tin House, executive editor Michelle Wildgen reflects on what she has learned from being both an editor and writer. Her biggest discovery: “The whole thing should be a conversation.”
Regardless of your Valentine's Day plans, do not take advice from Nate Piven, the protagonist of Adelle Waldman's The Love Affairs of Nathaniel P. Ron Charles asked Waldman to write another scene of Nate's romantic saga. "He decided it would be best to hedge his bets by getting her something 'ironic.'"
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.
Adding to a review by Pamela Erens for The Millions, Zoë Heller reads Janet Malcolm’s Forty One False Starts for the New York Review of Books. Among other things, she concludes that the writer’s job, at least in Malcolm’s estimation, is “to vanquish mess." (You could also read a review in The Nation I wrote about a few weeks ago.)
This week in beautiful books: Eugène Delacroix once illustrated Goethe’s Faust, and Goethe himself claimed the resulting lithographs "surpassed my own vision." A full version of the work is now available online. And in a slightly more light-hearted vein, English Russia has found and scanned a delightful Soviet version of The Hobbit, complete with a Gollum straight out of Dr. Seuss.