Yesterday, our own Elizabeth Minkel pondered if Twitter fiction could be real art. She cited Teju Cole, a literary Twitter master, but what does he have to say about how Twitter affects his writing? “My memory is worse than it was a few years ago, but I hope that my ability to write a good sentence has improved,” he told The New York Times.
“Though statements have been issued over the years, no one has ever provided full disclosure of the alleged 1974 government experiment called OPERATION EMU (Experimental Mitigated Universe) during which an entire Hollywood film crew, contracted by the government, disappeared in a remote section of Nevada.” Is this Web site a mysterious government coverup of the ravings of a lunatic? Neither. It’s the marketing campaign of a writer shopping his manuscript. (thanks, R.J.)The University of Nebraska Press has a blog. They’ve been plugging away at the blog since January, but I hadn’t seen it until today, when I got an email about it.New issues of The Virginia Quarterly Review and Narrative Magazine are out.
Over at The New Inquiry, Alison Kinney writes on narrative opportunity, the true function of the literary orphan, and the rage of the real orphan. This moving piece by Matthew Salesses for The Millions on adoption and searching for oneself in a strange place is a nice complement.
If you’ve ever been asked to write a thank-you note, you know that, paradoxically, it can be one of the hardest forms of writing to do well. In light of that, The Morning News has kindly republished their classic guide to writing thank-you notes, written by Leslie Harpold. Sample quote: “If you want to know when you get a genuine pass on writing a note, the litmus test is simple: Do I live under the same roof as the giver?”