Michael Kimball wants to save you $50,000 dollars on an MFA – by sharing what’s he taught himself. Interested in reading more from someone without a traditional writing degree? Our own Hannah Gersen explains “The Value of Writing Programs: On Why I Don’t Have an MFA.”
$50,000 / Free
The Tiny Gatsby
Here’s a question for a lexicographer: is a book still called a book if it’s too small for a person to read? Moreover, what do you call people who collect miniature books as a hobby?
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“I refuse to cater to the bullshit of innocence.”
“I never started out as a children’s book artist. What is a children’s-book artist? A moron! Some ugly fat pip-squick of a person who can’t be bothered to grow up. That’s the way we’re treated in the adult world of publishing.” The Believer interviews the late Maurice Sendak, who passed away last May.
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Jack White, Publisher
Recommended reading: Lauren O’Neal writes for the LA Review of Books about analog music, Millennial poetry and Jack White‘s foray into publishing.
The Words of E.B. White
E. B. White is one of those writers you are liable to meet again and again in the course of a reading life, each time wearing a different expression. To children, he is the author of Charlotte’s Web; to college students, he is half of Strunk and White’s The Elements of Style. Later on, he helped define the voice of the early New Yorker. Now all those Whites have been brought together in the pages of In the Words of E. B. White: Quotations from America’s Most Companionable of Writers, an anthology of quotations edited by his granddaughter Martha White.
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Emily Gould’s Favorite Memoirs
Emily Gould, author of the new memoir And the Heart Says Whatever, lists the best memoirs ever at the Daily Beast: “A few themes run throughout: druggy, decadent bohemia, forbidden or strange sex, art, and power, and, um, cooking.”
Poems in Extremity
Recommended reading: Sean Singer reviews Poetry of Witness for The Rumpus and calls for readers to see “poems as ethical and political act[s] in the face of extremity.” Pair with selections from editor Carolyn Forché‘s essay on 20th century poetry of witness.
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