This week, David Mitchell (author of Cloud Atlas and the forthcoming The Bone Clocks) is releasing a new short story over 280 tweets (which you can read here). Form follows content, he explains, since his narrator is a teenager high on his mother’s Valium. Mitchell joins good company: Teju Cole, Junot Diaz, and other notables have tried their hand with this strange new form. Pair with: a stroll down memory lane with some beloved authors’ very first tweets and their best.
“The Goldfinch is a grand nineteenth-century novel in that it is an 800-page chronicle of capitalism, a paean to the ways in which the world turns on the questions of who can or can’t pay for what, and how these abilities and inabilities mold us over time. Like the life events and relationships it depicts, it purports to be about love but is actually about money. This portrayal of twentieth century North American society is accurate, but also, just as in life, both exhausting and demoralizing.” On Donna Tartt’s latest novel. (You could also read Adam Dalva’s take on the book.)
The devastating images of Syria shot by Franco Pagetti have been collected into a series entitled Veiled Aleppo. Over at The New Republic, Geoff Dyer writes about one of them. It’s an image, Dyer observes, that features “symbols … of the death throes not of a city but of film.”
“Hope is a gift you don’t have to surrender, a power you don’t have to throw away. And though hope can be an act of defiance, defiance isn’t enough reason to hope. But there are good reasons.” Rebecca Solnit, author of Men Explain Things To Me, on maintaining hope and resisting defeatism.
At one time considered to be the work of demons or incubi, sleep paralysis – the “transition state between wakefulness and rest characterized by complete muscle atonia” – has since become accepted as a well-documented and not very uncommon phenomenon. Still, “the experience can be terrifying,” writes Karen Emslie in her recent piece about making the best of the condition.