Coming this fall: a newly published autobiography that Laura Ingalls Wilder wrote before she decided to retool her life story into the Little House on the Prairie books. Originally intended for an adult audience, Pioneer Girl gives a decidedly unsanitized account of Ingalls Wilder’s life, including love triangles, deadbeat fathers and episodes of drunken abuse. In The Telegraph, Rosa Prince compiles a preview of the new book.
Over at Words Without Borders, Esther Allen considers how to translate a song. As she puts it, “A song that almost everyone in a given culture at a given moment knows is a unique cultural artifact, a crystallized collective experience, a profound trigger that sets off a complex string of shared emotions.” Pair with Magdalena Edwards’s Millions essay on songs as triggers.
"I began to wonder: what would a manifesto for bad poetry look like? Would it differ either superficially or deeply from the art’s graver manifestos? It really wouldn’t have to. It would merely have to persuade, and persuasion sounds very much the same whether it is honest or dishonest. If it was any good it would hold great attractiveness as a snappy piece of writing, but, if followed, it would be certain to produce bad poetry. Some harmless sophistry. In this it would be more effective than any positive manifesto, because, if guided well, no-one who sets out to write a bad poem is going to accidentally write an excellent one." Erik Kennedy lays out a manifesto for bad poetry, titled "Precepts for Perfection in Poetry," for The Rumpus. For a counterpoint, pair with our own Nick Ripatrazone's look at very good and very sad poetry, "The Saddest Poem Ever Written."
“[Christa] Wolf was a committed dissident in the GDR (East Germany) and a forceful voice resisting Western triumphalism after reunification. It would seem like some sort of explanation was owed to the public. Yet how does one give an account of oneself when the link to the past, to the psychological and cultural backdrop of such fateful decisions, is not even subjectively available?” On City of Angels: Or, the Overcoat of Dr. Freud.
Does a writer need a devoted spouse to be prolific? At The Atlantic, Koa Beck examines the concept of having a do-it-all partner like Vera Nabokov and if this traditional gender role only harms female writers. Koa interviews various writers, from Emma Straub to Ayelet Waldman, on how their literary partnerships work. “I'd fantasized that being his Vera was a way for me to deal with being stuck as a stay-at-home mom—I'd subsume my own ambitions into something ‘greater!’ But that lasted about 48 hours," Waldman said.