Have you ever wondered how memoirists remember their childhoods so well when we can barely remember what we ate for breakfast this morning? Although losing your earliest memories is a common phenomenon called childhood amnesia, we’re more likely to remember childhood if we fashion it into a story.
The Guardian reports that Harper Lee is suing the local museum in her Alabama hometown. The octogenarian author of To Kill a Mockingbird, who currently resides in an assisted-living facility, claims that the museum is profiting off her fame without providing her due compensation.
Today, stuff yourself on envy and/or nostalgia for the NYC literary life. First, whet your appetite on the New Yorker’s gorgeous illustrations of notable bookstores, including one “the size of a luxurious Park Avenue closet.” Continue to a responsible main course essay on Choire Sicha, The Awl, and the Brooklyn loft building where it was founded and resides: a place that is “pleasant” but “a little dumpy, too, because that’s sort of our MO.” For dessert, savor Erin Loeb’s personal essay on leaving New York, and finish with a fittingly varied cheese course of other writers also saying goodbye.
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.
In his review of Ben Marcus‘s The Flame Alphabet for the LARB, Lee Konstantinou suggests that we have now moved well beyond the death of the author: “In an era where everyone has a novel waiting to come out, authors are legion; it’s the reader who seems, well, dead.” When we interviewed Marcus earlier this year he did not seem particularly mournful. We also reviewed the novel.