“One of the joys of literature is that we can always push back against established ways of speaking and seeing—and nothing has to be blown up.” Mark Z. Danielewski, whose latest novel, the first installment of a 27-book series called The Familiar, has just been released, writes for The Atlantic‘s “By Heart” series about “signiconic” writing, the orneriness of his work and the graphic novel Here. Pair with our 2012 interview with Danielewski.
Nothing Has to Be Blown Up
My Dear Antlers
Ladette Randolph began the Writers and their Pets series on the Ploughshares blog in large part to celebrate her beloved dog Sally. It didn’t take long, however, for the series to expand, which eventually led to this week’s entry about Nina Mukerjee Furstenau’s pet elk.
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Keeping Up
It’s extremely difficult to keep up with all of the books being published each day, so many thanks to the New York Times for this list of the latest in science fiction and fantasy. Now seems like as good a time as any to remind you about our Great Second-Half of 2016 Book Preview since we still have a bit of time left in the year.
“The contract gave me the last word on spelling, punctuation, grammar, usage and so on.”
If you’ve ever battled an editor over punctuation, or found yourself calculating just how long it’d take to burn your copy of the Chicago Manual of Style, you’ll be delighted by this oldie-but-goodie blog post by Millions favorite Helen DeWitt.
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Tarot and Literature
It’s time to recognize tarot’s place in literature. Peter Bebergal writes on Jessa Crispin’s latest project, The Creative Tarot: A Modern Guide to an Inspired Life.
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Why Reread?
Nabokov once claimed “there is no reading, only rereading.” In an essay for the New York Review of Books, Tim Parks pursues the “key to rereading,” taking The Waste Land and Mrs. Dalloway as his test cases.
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The Salman Rushdie Channel
Slate’s got a video interview with Salman Rushdie in three parts, and his speaking agency has released a rare video from one of Rushdie’s previously unrecorded talks, where the man describes writers as much more vulnerable than ideas.