“That’s always been part of my goal — to show the dark side of women. Men write about bad men all the time, and they’re called antiheroes. … What I read and what I go to the movies for is not to find a best friend, not to find inspirations, not necessarily for a hero’s journey. It’s to be involved with characters that are maybe incredibly different from me, that may be incredibly bad but that feel authentic.” Gillian Flynn and Cheryl Strayed talk with The New York Times about the adaptations for Gone Girl, Wild, and writing credible characters. Their conversation pairs well with our own Edan Lepucki‘s essay on likability in fiction.
Sasha Dugdale believes that Ted Hughes's greatest contribution to the world of poetry remains Modern Poetry in Translation, the magazine which got its start thanks to an off-hand suggestion by Hughes at a cocktail party in the mid-sixties. Here’s our review of Jonathan Bate’s recent take on the poet, Ted Hughes: The Unauthorized Life.
Novelists, poets, and playwrights aren't the only people who can call themselves writers. Don't forget the oft begrudged screenwriters. The New York Times highlights 14 of this year's best screenwriters, including Julie Deply and Seth Rogen, and asks them for writing advice and one original line of dialogue for some excellent short films. Our favorite short film is Robert Redford's.
Out this week: Flood of Fire by Amitav Ghosh; Wind/Pinball by Haruki Murakami; The Marriage of Opposites by Alice Hoffman; Let Me Tell You by Shirley Jackson; Three Moments of an Explosion by China Miéville; The Girl Who Slept with God by Val Brelinski; Make Your Home Among Strangers by Jeanine Capo Crucet; and The Daughters by Adrienne Celt. For more on these and other new titles, go read our Great Second-Half 2015 Book Preview.
While the federal government is turning to video games to get kids into the math and sciences, back in the day comic books provided a near-direct link to young minds. But the medium wasn’t warmly received by the older generation (sound familiar?), and the company debated whether it was worth taking a hit with parents in order to appeal to their kids.
"This is what set Geeshie and Elvie apart even from the rest of an innermost group of phantom geniuses of the ’20s and ’30s. Their myth was they didn’t have anything you could so much as hang a myth on." John Jeremiah Sullivan investigates more mysterious musicians in The New York Times Magazine. Bonus: You can listen to their music as you read. For more of Sullivan's music journalism, read his piece on the origins of ska.