The first trailer for the adaptation of James Franco’s Palo Alto is out. It features Emma Roberts as a teenager coming of age in the edgy California suburbs, and of course Franco makes an appearance as her teacher crush.
For the most part, your average writer's retreat is a pretty cushy place. Its amenities are designed to let its guests turn their energies to the difficulties of artistic work. At The Paris Review Daily, Rex Weiner writes a dispatch from a different sort of retreat -- a haunted house for writers in Mexico. To read about a more traditional experience, check out our own Michael Bourne on his time at Bread Loaf.
At Big Other, Greg Gerke reads William H. Gass's The Tunnel and looks at language, the controversy over the book, and how the vulgar and the beautiful relate.
It's not always a given that good people make good characters. Over at The Atlantic, Tony Tulathimutte explains how none other than one Philip Roth taught him the importance of showing every aspect of your characters–even the bad ones. Here's an older piece from the same series in which Paul Lisicky writes about Flannery O'Connor and her "flawed characters."
Feel like something’s off with a person you follow on Twitter? They could be time travelers from the future. In The Atlantic, Robinson Meyer writes about a new study, conducted by two physicists, that sought to find social media users with an uncanny knowledge of future events. “It’s not crazy, and yet it feels crazy when you think about it,” says The Hidden Reality author and Columbia professor Brian Greene. You could also take a look at our own journey to the early days of literary Twitter.
"Palestinian literature is a literature of exile, a quest for identity in a hostile world, a writing of fractured lives and displaced hopes, a record of a human tragedy." In the most recent issue of Asymptote Journal, Fakhri Saleh looks at Palestinian writing since 1948. Pair with Words Without Borders’s special Palestine issue, selected and introduced by Nathalie Handal.
"Sometimes dialect is the only way a person can stay rooted to family, to community, to everything that is familiar in a fast-changing world where nothing is certain," Amy Clark writes at The New York Times. She gives some tips on when and how to use dialect in your writing for the best and least offensive effect.