Congrats are in order for our own Emily St. John Mandel! As of this morning, Station Eleven has made both the Bailey’s Prize longlist and the shortlist for the PEN/Faulkner prize. For more on the book, you should go read our interview with Emily.
“Though female authors write experimental novels about women—like Renata Adler’s Speedboat or Sheila Heti’s How Should a Person Be?—the avant-garde has long been associated with male authors and stories. That association made Alexandra Kleeman’s You Too Can Have a Body Like Mine seem doubly unusual.” On Kleeman’s debut novel and blatantly feminine themes in the avant-garde.
The first time’s always the hardest, right? Well, what if you could dull the pain of future rejection letters by preempting your favorite publication’s editors? That’s right. Now you can reject yourself with the Rejection Generator. And just to show that we’re not taking sides on this issue, check out some of the utter dross agents and editors get offered on a daily basis.
Vanity Fair remembers Christopher Hitchens, a favorite of ours who was always fun to root for, and who, as you’ve no doubt heard by now, died last night. Andrew Sullivan remembers an email exchange from happier times. Hitchens’ ebook from this year, The Enemy, is in our Hall of Fame, and we reviewed his memoir, Hitch-22, last year.
When Adrienne Raphel got to the Iowa Writers’ Workshop, she found a group of writers as addicted to fonts as she was. Over time, a “font subculture” developed among the poets, who settled on particular fonts as their signatures, at least for a while. At The Paris Review Daily, she writes about her typographic bent. Pair with our own Garth Risk Hallberg on the use of fonts in publishing.