Pulitzer winner Tony Horwitz describes – in incredibly depressing fashion – his experience publishing Boom, a digital short representing his first foray into “the brave new world” of digital publishing. Two takeaways for aspiring writers that are not explicitly mentioned, however: don’t write without a contract, and be sure to use an agent from the get-go.
“I’ve escorted two e-partners to the edge of the grave”
“I learned to look outward more”
“There are dangers for an artist in any academic environment,” says former Poetry editor Christian Wiman, who now teaches at the Yale Institute of Sacred Music. “Academia rewards people who know their own minds and have developed an ironclad confidence in speaking them. That kind of assurance is death for an artist.”
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Fiction Vs. Autobiography
“The unverifiable world is vast and accommodating.” From Robert Atwan’s essay (pdf) “A Remarkable Orgasm, A Dying Pig, and A Scarlet Letter: Is It Truth, Fiction, or… Autobiography?” (via @maudnewton)
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Yoko Ogawa on Literature as a Means of Remembering
Author Yoko Ogawa reflects on the literature published following the atomic bombings in Japan during World War II.
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Insult to Insult
“Who was Bret Easton Ellis describing when he tweeted: ‘The best example of a contemporary male writer lusting for a kind of awful greatness that he simply wasn’t able to achieve’?” The Guardian has a delicious quiz of literary putdowns. And speaking of fighting, let’s talk about books about violence.
Women Writers’ Firsts
Over at Ploughshares, reflect on eight women writers’ accomplishments spanning twenty-six centuries. For more impressive writing by women, read Edan Lepucki and Meaghan O’Connell’s discussion of David Copperfield.
Less than Horrible
In the latest edition of By the Book, Neil Patrick Harris explains his love of Gone Girl, Steve Martin, and John Kennedy Toole’s A Confederacy of Dunces. We’ve written about the series in the past — you might want to look back on the entries by Neil DeGrasse Tyson and Colson Whitehead.