“I had always felt that [Gabriel] García Márquez’s short stories often took a back seat to his longer works, and that his deadpan dark humor was not discussed often enough,” writes Edwidge Danticat.
I didn’t expect to find a Chinese poem more ornate than Su Hui’s palindromic, pre-oulipan “Xuanji Tu,” but apparently I underestimated myself. Here’s “Lion-Eating Poet in the Stone Den,” a 92-character poem by Yuen Ren Chao which relies on the tonal variations of a single sound (shi) to tell the story of a “lion addict” with a taste for big cats. For a really crazy experience, I recommend listening to the poem being read aloud.
New this week: The Good Lord Bird by James McBride; Night Film by Marisha Pessl; The Twelve Rooms of the Nile by Enid Shomer; The Daughters of Mars by Thomas Keneally; and Holy Orders, a new Quirke novel by John Banville/Benjamin Black. For more on these and other upcoming releases, check out our Great 2013 Second-Half Book Preview.
“Writing isn’t entirely mental. You’re a physical being, and sometimes when your writing is broken, it’s your body that needs attention, not your mind.” Rebecca Makkai has some tips for breaking writer’s block and a very cool perspective on writing as a whole person. Pair with our interview with Makkai about her latest novel, The Hundred-Year House.
Twitter lets writers think in public, and it’s changing the way we write, Thomas Beller argues in The New Yorker. “Does articulating a thought in public freeze it in place somehow, making it not part of a thought process but rather a tiny little finished sculpture? Is tweeting the same as publishing?”