Has Joan Didion become “the Ultimate Literary Celebrity“? In an article for the New Republic Laura Marsh says “yes,” and then explains how that happened. Marsh’s efforts pair well with Franklin Strong‘s recent Millions essay on “The Manliness of Joan Didion,” Joan Didion being a literary figure who easily adapts to any description.
Despair, debt, frustration, a decade in school rewarded with guaranteed joblessness. If this cocktail of woe sounds good to you, consider getting a Ph.D. in English, History, or any other humanities discipline. At the New York Times, yet another of the recent spate of articles explaining how utterly dismal the prospects of recent humanities Ph.D.s are.
After winning a $100,000 grant from the Andy Warhol Foundation, what do you do for an encore? How about staging "fifty days of lectures, discussions, and debates" about what the future ought to look like? How about enlisting the likes of Laurie Anderson, Samuel Delany, Rachel Kushner, and Norman Rush as ringmasters? How about having the entire thing take place in structures designed by artists José León Cerrillo and Adrián Villar Rojas? Triple Canopy's "Speculations" occupies MoMA's P.S. 1 this summer
The fuss is currently over John D'Agata and Jim Fingal's clashes over factual accuracy, but frankly I'm tired of hearing about it. Maybe it's because it sounds so reminiscent of David Shields' Reality Hunger (2010). Or, better yet, maybe it's because it sounds so reminiscent of David Sedaris' Naked (1997).
Many writing guides feature long explainers that detial how to craft a great plot. They’ve turned the phrase “rising action” into a buzzword in many classes. At Page-Turner, a short comic illustrating major plots that don’t work, including one in which the protagonist “ignores the problem until it goes away.”