“If the sentences are meticulously made, I’ll read anything, whether it’s as destabilizing as a Gary Lutz short story or as melancholy as a Chris Ware comic. The only books I give up on are texts where the writer’s attention is concentrated so heavily on narrative questions that his or her use of language becomes careless.” Anthony Doerr, whose All The Light We Cannot See won the 2015 Pulitzer Prize for Fiction, discusses genre, Calvin and Hobbes, and the 2,080 books he still wants to read as part of the New York Times Book Review‘s By the Book series.
Catapult.co, a new literary website and publisher from the founders of Electric Literature and Black Balloon Publishing, has debuted online this week. It features stories by Padgett Powell and Joy Williams, and a remarkable essay about living in New York by Alexander Chee.
“If the history of the American sentence were a John Ford movie, its second act would conclude with the young Ernest [Hemingway] walking into a saloon, finding an etiolated Henry James slumped at the bar in a haze of indecision, and shooting him dead.” Adam Haslett takes on Stanley Fish, Strunk & White, and the art of writing a sentence.
For the Poetry Foundation blog, David Winter interviews Night Sky With Exit Wounds author Ocean Vuong about poetry, how art is like public transportation, and turning your back on your own work. Pair with Andrew Kay’s Millions essay on the power of poetry.
“Define your character’s obsession. Take that obsession and dig up all the language that surrounds it or alludes to it. Rewrite your story using as much of that language as possible.” Molly Prentiss for Amazon Author Insights on using personal preoccupations to bring your narratives to life.