“These were my two first mistakes about honesty: I thought it meant relentless self-flagellation, and I thought it could redeem everything.” Leslie Jamison and Anna Holmes discuss the mistakes they made as young writers.
Making Mistakes
Lions, and Tigers, and Fords
Recommended Reading: This essay by Muna Mire and Messiah Rhodes on private policing in Detroit, Michigan. These few Millions essays on the Motor City will satisfy your Detroit fix.
Let’s Find a Way to Make this Debate Happen
The London Review of Books made Jenny Diski watch and review Downton Abbey. Let’s just say she and our own Garth Risk Hallberg could probably have a nice debate about it.
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On Representation
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Sehgal and Adichie in Conversation
In the introduction to her interview with the author, the inimitable Parul Sehgal described Chimamanda Ngozi Adichie’s latest novel, Americanah, as “a thrilling and risky piece of writing that takes on taboos, shatters pieties, and combines forthright prose, subversive humor, and a ripping good story.” If that doesn’t sell you, I don’t know what will.
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How White Are Your Comp Titles?
The publishing industry is roughly 86% white. Yet comparative titles, or “book comps,” are whiter still, the L.A. Review of Books has found, arguing that this makes it exceptionally difficult for writers of color to place their books with imprints at Big Five publishers. “Comps,” in other words, “perpetuate the status quo.” Here’s how.
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An American Point of View
The international popularity and utility of English doesn’t show any signs of slowing, but what will the language look like after a few generations of increasing usage? The Economist gives a brief answer, but it doesn’t address the ways English is or will be used by different people to tell their stories. Damian Fowler addresses this when he asks, “[W]hat does it mean to have an American point of view,” or to call a book American in tone, as opposed to British or just English-language? In a blog post for The Paris Review, Fowler offers an answer: American novels are characterized by “a spare, sure sense of narrative, reflected in a colloquial voice, free of affectation.”
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