“I’ve learned that people—writers and non-writers alike—don’t like that word. Failure…. I take a bizarre pleasure, now, in using that word. Maybe because during my decade as a failed writer, the one thing that took the edge off was wallowing in that failure—carefully, in a proscribed fashion, like having a drink when you’re still hungover.” Stephanie Feldman writes for Vol. 1 Brooklyn about being a literary failure, about the two books she wrote and never published, and about the one she finally did. Pair with the stories of these 5 writers and their failed “novels in drawers.”
As Maxwell’s prepares for its last couple days of existence, New York Magazine brought together the place’s original founder, it’s current co-owner, and a huge number of musicians to provide an oral history of Hoboken’s best concert venue. You might recall my piece from last month on the institution’s demise.
The essay is more than just a literary genre but a lifestyle, and it’s dominating American society, Christy Wampole argues. “The genre and its spirit provide an alternative to the dogmatic thinking that dominates much of social and political life in contemporary America,” she writes.
“7 Awesome Ways Barnyard Animals Are Like Communism.” From McSweeneys, great literature retitled to boost website traffic.
Rick Gekoski, previously shortlisted for the PEN/Ackerley prize, talks about what it means to be a good literary loser, at Guardian: “And as soon as the winner is announced and it isn’t you,” Colm Tóibín observed, “the cameraman just walks away, and you are left there at the table trying to look composed, and you want to die.”