Over at Electric Literature, Tara Isabella Burton likens the experience of reading her ex’s favorite book – in this case Stefan Zweig’s Beware of Pity – to “rifling through someone’s letters after a death.”
When Adrienne Raphel got to the Iowa Writers’ Workshop, she found a group of writers as addicted to fonts as she was. Over time, a “font subculture” developed among the poets, who settled on particular fonts as their signatures, at least for a while. At The Paris Review Daily, she writes about her typographic bent. Pair with our own Garth Risk Hallberg on the use of fonts in publishing.
New this week: Island of the Mad by Laurie Sheck; Moshi-Moshi by Banana Yoshimoto; One Man’s Dark by Maurice Manning; Kill the Next One by Federico Axat; and Loveland by Graham Norton. For more on these and other new titles, go read our latest fiction and nonfiction book previews.
Many aspiring writers wind up in publishing jobs or teaching posts. Some view the career choice as a happy union between their creative interests and their vocational qualifications. T. S. Eliot was not so. In an article for The Rumpus, Lisa Levy notes that the poet continued “to work at the bank even after his poems [became] successful,” and that the poet found the work “more conducive to writing poetry and criticism than taking a more literary job might be.”