There are a lot of writers who work in advertising, and it’s starting to have an impact. People are more likely to love brands if there is a story involved, according to a new study. “We’ve known for a long time there is no ‘buy’ button in the brain. But these results show there’s a ‘story’ button,” neuroscientist Paul Zak says. Pair with: Our essay on working at a creative agency after getting your MFA.
The Story Button
Homing In
"The main problem with Homeland is not even the writers taking Adderall or whatever they did in the second season that eliminated suspense and brought instead an unhinged intensity of movement that barely allowed space and time enough for the cast members to occupy their roles. The main problem with the show is a kind of elephant in the room." Lorrie Moore explains her gripe about the celebrated series.
An Engine, An Engine
“It is a superstitious business—childish, really—the marking, or even the noticing, of anniversaries like these. Such fastening pretends that one day can be like another, pretends that every day is not, ultimately, only its own day, the only version of itself that will ever come. But 'Daddy' is itself a poem built on a bedrock of anniversaries.” At The Paris Review Daily, Belinda McKeon marks the birthday of an oft-revered poem.
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“Because with Helen DeWitt, everything is physical.”
Lightning Rods author (and occasional Millions commenter) Helen DeWitt has a story entitled "Recovery" featured in Electric Literature’s Recommended Reading series. Don’t miss the “single sentence animation” video for it, either.
All Hanging Out
“Even with such apparently juicy material, blithe self-exposure quickly grows dull. Their mutual trust comfortably established, Marsha, Emily, and Vincent unleash endless confession, allowing one another to stand in for the analysts they aren’t seeing over the summer. Nobody has to coax anything out of anyone.” On the age of social media and the novel Talk by Linda Rosenkrantz.
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Maud Newton Talks to Philip Connors
Today at The Paris Review blog, Maud Newton talks to Philip Connors, author of Millions most-anticipated book Fire Season.
“The New York Times, the paper of record, had written a fictitious character to verify a fact.”
Patrick Somerville’s latest novel, This Bright River, was recently reviewed in The New York Times by Janet Maslin, who found the book to be, among other things, “soggy.” Unfortunately, some of her critique was based on a mistaken reading of Somerville’s work. I’ll let Patrick take it from here.
His first step was to contact a real estate agent
In this week's London Review of Books Elif Batuman has a great piece about Orhan Pamuk's Museum of Innocence, both the book and the place. It would pair well with our own Lydia Kiesling's award-winning essay on the book from 2010.
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