“Reading Literary Twitter is to witness brief, terse glimpses into the writerly psyche, and how insecure and unsure and thin-skinned we tend to be. As writers, we want to be validated. We want to matter. The published stories and poems and essays, the books we sell, the magazines we edit: all this output, this paper expelled out to the world, the screens we invade with our narratives, it all matters to us. But does it matter to everyone else?” mensah demary writes about the good, the bad, and the slightly neurotic of being a writer on Twitter for Electric Literature.
One consequence of creating a beloved show is that you’ve got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I’m not saying he can’t be chagrined by Grantland or Vulture’s recent TV brackets (which Simon singled out in subsequent remarks), but when he says he’s “it’s wearying” for people “to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time,” it’s a bit harder to take his side, and you feel like he hasn’t watched Erlend Lavik’s sophisticated and thorough video essay about The Wire‘s visual style. Surely analyses like this (or Žižek‘s, which we’ve mentioned before) deserve due credit.
New this week: Summer House With Swimming Pool by Hermann Koch; I’ll Be Right There by Kyung-Sook Shin; The Book of Unknown Americans by Year in Reading alum Cristina Henríquez; In the Wolf’s Mouth by Adam Foulds; The Lemon Grove by Helen Walsh; The Girl Who was Saturday Night by Helen O’Neill; and two new books, Paper Lantern and Ecstatic Cahoots, by Stuart Dybek.
Mavis Gallant, who passed away a year ago this February, published a total of a hundred and sixteen short stories in The New Yorker, which puts her on par with short story factories like John Cheever and John Updike. Yet by the time she died, she was penniless and alone, a fact which worried the few people in Paris who knew her well. In The Walrus, David MacFarlane examines what her writing meant to him. Pair with: Laurel Berger on her own fascination with the author.