Last week, Erin Fortenberry reviewed Walter Kirn’s Blood Will Out for The Millions, writing that the events in the book were partly centered on Kirn himself. Now, in the Times, Janet Maslin reads the book, which struck her as “primarily a tale of seduction.”
Melissa Hillman, the artistic director at Berkeley’s Impact Theatre, explains “A Common Problem [She Sees] In Plays By Women Playwrights. (It’s Not What You Think.)”
TriQuarterly, the long-running trail-blazing literary journal more or less dreamed into existence by the late Charles Newman, is apparently no more, due to budget cuts at Northwestern University. Newman’s foreword to his first issue as editor, reprinted at A Public Space, should be required reading for anyone thinking about the purpose and future of the little magazine and its role in the artistic ecology.
“This is a huge generalization, but [American novels] have tended not to have all the elements that make it good for television, whether it’s too interior or there’s not enough action. The Brits tended to write more colorful stories rather than the darkness and struggle. Dickens and Trollope certainly knew how to write sequels, books that would make good ongoing series again and again. And the greatest love stories are in the Wuthering Heights and Pride and Prejudice. I don’t know what our equivalent is.” In a piece for The Atlantic Spencer Kornhaber wonders, “Is American Literature Too Dark for TV?“