“Every story I have ever told has a kind of breach to it, I think. You could say that my writing isn’t quite right. That all the beginnings have endings in them.” Lidia Yuknavitch, who recently published an essay, “There is No Map for Grief,” in the Millions, now has an essay on violence, beauty and and storytelling in Guernica.
All the Beginnings Have Endings
Beautiful Sentence Diagrams
The idea of having to diagram a sentence still gives us nightmares, but Pop Chart Lab has diagrammed opening lines of famous novels, including those as simple as Slaughterhouse-Five and as complex as Don Quixote.
Making the Puzzle More Hip
Meet the 23-year-old who’s been tasked with “injecting some swag” into the “traditionally conservative New York Times [crossword] puzzle.”
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Michael K. Williams’s Charade and Redemption
Michael K. Williams, best known to some as The Wire’s Omar Little or Boardwalk Empire’s Chalky White, talks publicly for the first time about his battles with addiction, and how his stint on the Baltimore crime drama coincided with some of the lowest points in his life. “I suffered from a huge identity crisis,” Williams says. “In the end, I was more comfortable with Omar’s skin than my own. That was a problem.”
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I’m the Best One Here
If, while sitting in a writing class, you’ve ever looked around at your classmates and thought, “Dear Lord, these people are navel-gazers,” you might want to know that British researchers have found evidence that you were right.
Saving Hughes’s House
Last-minute signal boost! You have a few more hours to donate to I, Too, Arts Collective‘s campaign to convert Langston Hughes‘s former home into a non-profit cultural center. See also: our own Emily Wilkinson’s review of his Tambourines to Glory.
No Se Habla
Back in March, I pointed readers to an interview with Minae Mizumura, whose recent book, The Fall of Language in the Age of English, makes a case against the dominance of the English language in the modern age. Now, at Full-Stop, Sho Spaeth reviews the book. Sample quote: “She has a curious blindness to what may be her greatest offense of all to the prevailing attitude of our age: a naive rejection of the idea that novels, and their novelists, exist merely to entertain.”